In this book, art historian Darby English explores the year 1971, when two exhibitions opened that brought modernist painting and sculpture into the burning heart of United States cultural politics: Contemporary Black Artists in America, at the Whitney Museum of American Art, and The DeLuxe Show, a racially integrated abstract art exhibition presented in a renovated movie theater in a Houston ghetto.

1971: A Year in the Life of Color looks at many black artists’ desire to gain freedom from overt racial representation, as well as their efforts—and those of their advocates—to further that aim through public exhibition. Amid calls to define a “black aesthetic,” these experiments with modernist art prioritized cultural interaction and instability. Contemporary Black Artists in America highlighted abstraction as a stance against normative approaches, while The DeLuxe Show positioned abstraction in a center of urban blight. The importance of these experiments, English argues, came partly from color’s special status as a cultural symbol and partly from investigations of color already under way in late modern art and criticism. With their supporters, black modernists—among them Peter Bradley, Frederick Eversley, Alvin Loving, Raymond Saunders, and Alma Thomas—rose above the demand to represent or be represented, compromising nothing in their appeals for interracial collaboration and, above all, responding with optimism rather than cynicism to the surrounding culture’s preoccupation with color.

Archaic Bookkeeping brings together the most current
scholarship on the earliest true writing system in human
history. Invented by the Babylonians at the end of the
fourth millennium B.C., this script, called proto-cuneiform,
survives in the form of clay tablets that have until now
posed formidable barriers to interpretation. Many tablets,
excavated in fragments from ancient dump sites, lack a clear
context. In addition, the purpose of the earliest tablets
was not to record language but to monitor the administration
of local economies by means of a numerical system.

Using the latest philological research and new methods
of computer analysis, the authors have for the first time
deciphered much of the numerical information. In
reconstructing both the social context and the function of
the notation, they consider how the development of our
earliest written records affected patterns of thought, the
concept of number, and the administration of household
economies. Complete with computer-generated graphics keyed
to the discussion and reproductions of all documents referred
to in the text, Archaic Bookkeeping will interest
specialists in Near Eastern civilizations, ancient history,
the history of science and mathematics, and cognitive
psychology.

The art museum has become a prestige commission for contemporary architects, and for several decades reference has been made to a “museum building boom.” Among these new museums, those of Louis Kahn are especially admired. This significant American architect, who ranks in this century with Frank Lloyd Wright both as a creator and as an influence, has made a special contribution to the architecture of museums and has helped create a subtle but telling change in the concept of what a late twentieth-century museum building should be.
After a brief look at the development of a tradition in museum architecture, this study examines Kahn’s three art museums: the Yale University Art Gallery, the Kimbell Art Museum, and the Yale Center for British Art. It traces the development of each museum through museum through its various stages: the background of the institutions and the commissions, the programs for the buildings, their designs and evolutions, their constructions, and the evaluations of the completed buildings. Material on Kahn’s plans for a museum for the De Menil collection, begun shortly before his death, is also included.
Accompanying the text are illustrations of the buildings, including Kahn’s personal sketches, architectural plans and sections, and presentation perspective drawings. Photographs of the finished buildings present the transformed vision of the architect in tangible form, showing that the museums, while related, are individualized accomplishments. This is the first comprehensive study of Kahn’s museums.

This unique book combines two catalogs in one. Bead International 2008 & Beyond Basketry represents the best of two juried exhibitions held at the Dairy Barn Arts Center in Athens, Ohio.

Beads have long been worn as jewelry, but in Bead International 2008 contemporary bead artists are shaking things up. From fine jewelry to loom weaving to sculpture, the sixty-eight pieces by fifty-one artists in this collection represent some of the most innovative and well-executed art in the modern beading world. Considering any pierced object to be a bead, pieces range in style from the traditional to the whimsical as they incorporate a variety of colors and materials. This vibrant collection will spark the reader’s creativity and broaden his or her perspective.

When the age-old art form of basketry is combined with contemporary visions and techniques, the result is the striking Beyond Basketry, a collection of sixty-five artworks created by forty-two artists from across the United States. The artworks represented in these beautiful color photographs will challenge the reader’s ideas of what constitutes a basket. All artworks are vessels made of woven materials, but the pieces explore a variety of sizes, colors, shapes, and techniques

Photography possesses a powerful ability to bear witness, aid remembrance, shape, and even alter recollection. In Beyond Memory: Soviet Nonconformist Photography and Photo-Related Works of Art, the general editor, Diane Neumaier, and twenty-three contributors offer a rigorous examination of the medium's role in late Soviet unofficial art. Focusing on the period between the mid-1950s and the late 1980s, they explore artists' unusually inventive and resourceful uses of photography within a highly developed Soviet dissident culture.

During this time, lack of high-quality photographic materials, complimented by tremendous creative impulses, prompted artists to explore experimental photo-processes such as camera and darkroom manipulations, photomontage, and hand-coloring. Photography also took on a provocative array of forms including photo installation, artist-made samizdat (self-published) books, photo-realist painting, and many other surprising applications of the flexible medium.

Beyond Memory shows how innovative conceptual moves and approaches to form and content-echoes of Soviet society's coded communication and a Russian sense of absurdity-were common in the Soviet cultural underground. Collectively, the works in this anthology demonstrate how late-Soviet artists employed irony and invention to make positive use of difficult circumstances. In the process, the volume illuminates the multiple characters of photography itself and highlights the leading role that the medium has come to play in the international art world today.

Beyond Memory stands on its own as a rigorous examination of photography's place in late Soviet unofficial art, while also serving as a supplement to the traveling exhibition of the same title.

Blanche Lazzell went from Maidsville, West Virginia, to the leading edge of twentieth-century American art. A member of the prominent art communities of Paris and Provincetown, MA during the '20s and '30s, Lazzell was always on the fringe of important developments in the modern art world. Her studies in Paris led her to adopt the techniques of modernism as well as other emerging styles. Among her groundbreaking works were some of the first examples of abstraction in America. Blanche Lazzell: The Life and Work of an American Modernist is a significant contribution to the history of twentieth-century American art.

Know primarily as a Provincetown printmaker, Lazzell’s full life and career are presented here, generously accompanied by color reproductions of her work, showing the breadth of her accomplishment in painting, printmaking, and hooked rugs. Lazzell's true contribution to American art history was never fully appreciated during her lifetime. A renewed interest in the artist has developed over the past fifteen years, due mostly to the critical appreciation of her color wood block prints. She is worth remembering not only for her own work, but also for her role as a translator of the achievements of the European modernists for her colleagues in America. In Blanche Lazzell: The Life and Work of an American Modernist, nine essays and hundreds of full-color illustrations bring this incredibly talented and influential artist's work to life.

Collecting Mexico centers on the ways in which aesthetics and commercialism intersected in officially sanctioned public collections and displays in late nineteenth-century Mexico. Shelley E. Garrigan approaches questions of origin, citizenry, membership, and difference by reconstructing the lineage of institutionally collected objects around which a modern Mexican identity was negotiated. In doing so, she arrives at a deeper understanding of the ways in which displayed objects become linked with nationalistic meaning and why they exert such persuasive force.

Spanning the Porfiriato period from 1867 to 1910, Collecting Mexico illuminates the creation and institutionalization of a Mexican cultural inheritance. Employing a wide range of examples—including the erection of public monuments, the culture of fine arts, and the representation of Mexico at the Paris World’s Fair of 1889—Garrigan pursues two strands of thought that weave together in surprising ways: national heritage as a transcendental value and patrimony as potential commercial interest.

Collecting Mexico shows that the patterns of institutional collecting reveal how Mexican public collections engendered social meaning. Using extensive archival materials, Garrigan’s close readings of the processes of collection building offer a new vantage point for viewing larger issues of identity, social position, and cultural/capital exchange.

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.

Defining Russian Graphic Arts explores the energy and innovation of Russian graphic arts during the period which began with the explosion of artistic creativity initiated by Serge Diaghilev at the end of the nineteenth century and which ended in the mid-1930s with Stalin's devastating control over the arts. This beautifully illustrated book represents the development of Russian graphic arts as a continuum during these forty years, and places Suprematism and Constructivism in the context of the other major, but lesser-known, manifestations of early twentieth-century Russian art.

The book includes such diverse categories of graphic arts as lubki (popular prints), posters and book designs, journals, music sheets, and ephemera. It features not only standard types of printed media and related studies and maquettes, but also a number of watercolor and gouache costume and stage designs.

About 100 works borrowed from the National Library of Russia and the Research Museum of the Academy of Fine Arts in St. Petersburg, Russia-many seen here for the first time outside of Russia-are featured in this book. Additional works have been drawn from the Zimmerli Art Museum, The New York Public Library, and from other public and private collections. Together they provide a rare opportunity to view and learn about a wide variety of artists, from the acclaimed to the lesser known.

This book is a companion volume to an exhibition appearing at the Jane Voorhees Zimmerli Art Museum at Rutgers University.

A mountain of chairs piled between buildings. Shoes sewn behind animal membranes into a wall. A massive crack running through the floor of Tate Modern. Powerful works like these by sculptor Doris Salcedo evoke the significance of bearing witness and processes of collective healing. Salcedo, who lives and works in Bogotá, roots her art in Colombia’s social and political landscape—including its long history of civil wars—with an elegance and poetic sensibility that balances the gravitas of her subjects. Her work is undergirded by intense fieldwork, including interviews with people who have suffered loss and endured trauma from political violence. In recent years, Salcedo has become increasingly interested in the universality of these experiences and has expanded her research to Turkey, Italy, Great Britain, and the United States.

Published to accompany Salcedo’s first retrospective exhibition and the American debut of her major work Plegaria muda, Doris Salcedo is the most comprehensive survey of her sculptures and installations to date. In addition to featuring new contributions by respected scholars and curators, the book includes over one hundred color illustrations highlighting many pieces from Salcedo’s thirty-year career. Offering fresh perspectives on a vital body of work, Doris Salcedo is a testament to the power of one of today’s most important international artists.

Copublished with the National Gallery of Art in celebration of Virginia Dwan’s gift to the Gallery of her extraordinary personal collection, Dwan Gallery explores her remarkable career. Dwan is one of the most influential figures in the history of twentieth-century American art. Her eponymously named galleries, the first established in a Los Angeles storefront in 1959, followed by a second in New York in 1965, became a beacon for influential postwar American and European artists. She sponsored the debut show for Yves Klein in the United States, and she championed such artists as Franz Kline, Robert Rauschenberg, Claes Oldenburg, Sol LeWitt, and Ad Reinhardt. Her Los Angeles gallery featured abstract expressionism, neo-Dada, and pop, while the New York branch became associated with the emerging movements of minimalism and conceptualism. At the same time, the gallery’s influence expanded to remote locations in Nevada, Utah, and Arizona, where Dwan sponsored such iconic earthworks as Robert Smithson’s Spiral Jetty, Michael Heizer’s Double Negative, and Walter De Maria’s Lightning Field. Though Dwan was a major force in the art world of the sixties and seventies, her story and the history of her gallery have been largely unexplored—until now.

Alongside lush full-color images of one hundred leading artworks, the book deepens our understanding of the artistic exchanges Dwan facilitated during this age of mobility, when air travel and the interstate highway system linked the two coasts and transformed the making of art and the sites of its exhibition. James Meyer, the curator of the exhibition and the foremost authority on minimal art, contributes an essay that is a sophisticated and broad-ranging analysis of Dwan’s legacy.

Honoring Dwan’s significant influence and impact on postwar art, Dwan Gallery is a rich and informative collection that will be treasured by fans of contemporary art.

#exstrange: a curatorial intervention on eBay presents the #exstrange exhibition project, which transformed one of the largest marketplaces on the web — eBay — into a site of artistic production. This book documents artworks, reveals the aftermath of auctions and correspondences between artists and bidders, and features essays by lead curators Marialaura Ghidini and Rebekah Modrak, cultural critic Mark Dery, journalist Rob Walker, media and material culture scholar Padma Chirumamilla, guest curator Gaia Tedone, and artist and writer Renee Carmichael.
 
Over 80 contemporary artists and designers created “artworks as auctions” for #exstrange between January 15 and April 15, 2017, each using the elements of the auction listing—descriptive text, images, pricing, and categories—as tools of production.
 
Works include artist Lucy Pawlak’s collaboration with the Beat Officer to sell a series of clay objects as missing evidence from unexplained events in Mexico; IOCOSE’s sale of instant protests in the category “Specialty Services” where buyers chose the protest mantras, and outsourced performers demonstrated; and Susanne Cockrell & Ted Purves’ offering of a stick-gun with the memory of their son’s play in “Entertainment Memorabilia.”
 
Featured artists:
10.000 • Lanfranco Aceti • AILADI • Aysha Al Moayyed • Nasser Alzayani • Mary Ayling • Georgia Banks • Ann Bartges • Yogesh Barve • Kim Beck • Ajit Bhadoriya • Natalie Boterman • Sophia Brueckner • Carmel Buckley • Renee Carmichael • Alessio Chierico • Mia Cinelli • Susanne Cockrell • ConnX • Da Burn Gallery • Julia del Río • Tyler Denmead • César Escudero • Nihaal Faizal • FICTILIS • Eryn Foster • John D. Freyer • Elisa Giardina Papa • Angela Glanzmann • Maximilian Goldfarb • Archana Hande • Abhishek Hazra • Adam Hewins • Megan Hildebrandt • Joey Holder • Masimba Hwati • Regin Igloria • IOCOSE • JODI • Geraldine Juárez • KairUs Art+Research • Katerina Kamprani • Kamilia Kard • Tara Kelton • Matt Kenyon • Stephanie LaFreniere • Eno Laget • Nicolás Lamas • Martin Lang • Taekyeom Lee • LEXX Exhibitor Space • Lloyd Corporation • Silvio Lorusso • Breda Lynch • Garrett Lynch • Eva and Franco Mattes • Kembrew McLeod • Kathleen Meaney • Maria Miranda • Crisia Miroiu • Joana Moll • Martín Nadal • Norie Neumark • Xi Jie Ng • Maeve O'Neill • Chiara Passa • Lucy Pawlak • Sreshta Rit Premnath • Niko Princen • Ted Purves • Renuka Rajiv • Luis Romero • Armando Rosales • Robert Sakrowski • Alessandro Sambini • Sarah Ancelle Schönfeld • Anke Schüttler • Guido Segni • Chinar Shah • Jenine Sharabi • Yastika Prakash Shetty • Anupam Singh • Gagan Singh • Ishan Srivstava • Isabella Streffen • Surabhi Vaya • Wang Yue • Wu Jiaru • Yashaswini • Laura Yuile • Carlo Zanni • Huaqian Zhang
 
Guest curators:
Latifa Al Khalifa • Bani Brusadin • Peter Dykhuis • Fred Feinberg & Lu Zhang • Harrell Fletcher • Tamara Ibarra • João Laia • Nora O Murchú • Domenico Quaranta • Gaia Tedone • TSAO Yidi
 

From the costly velvets and furs worn by kings to the undyed wools and rough linens of the peasantry, the clothing worn by the various classes in the Middle Ages played an integral role in medieval society. In addition to providing clues to status, profession, and/or geographic origin, textiles were a crucial element in the economies of many countries and cities.
 
Much of what is known about medieval fashion is gleaned from the pages of manuscripts, which serve as a rich source of imagery. This volume provides a detailed look at both the actual fabrics and composition of medieval clothing as well as the period’s attitude toward fashion through an exploration of illuminated manuscripts in the collection of the J. Paul Getty Museum. The last portion of the book is dedicated to the depiction of clothing in biblical times and the ancient world as seen through a medieval lens. Throughout, excerpts from literary sources of the period help shed light on the perceived role and function of fashion in daily life.
 

Fluxus—from the Latin, meaning “to flow”—was a radical, international network of artists, composers, and designers in the 1960s and 1970s noted for blurring the boundaries between what we term “art” and what makes up everyday life. Following the work of American Fluxus founder George Maciunus, Fluxus and the Essential Questions of Life presents a variety of objects that express the Fluxus mission, while empowering readers to challenge the presumptions we bring to the concept and practice of art making.

Based on a large-scale traveling exhibition first organized at Dartmouth College’s Hood Museum of Art, this book chronicles the movement in the form of an art self-help book, playfully providing answers to fourteen key questions such as “Art—what is it good for?” and “What am I?” via Fluxus works. Featuring over eighty color and black-and-white illustrations, accompanied by essays from curator Jacquelynn Baas, Fluxus scholars Hannah Higgins and Jacob Proctor, and Fluxus artist Ken Friedman, this book will make an original contribution to our understanding of this provocative moment in modern art.

The Julius Rosenwald Fund has been largely ignored in the literature of both art history and African American studies, despite its unique focus, intensity, and commitment. Spertus Museum in Chicago has organized an exhibition, guest curated by Daniel Schulman, that presents and explores the work of funded artists as well as the history of the Fund. Through it, and this accompanying collection of essays, illustrations, and color plates, we see the Fund’s groundbreaking initiative to address issues relating to the unequal treatment of blacks in American life. The book constitutes a veritable Who’s Who of African American artists and intellectuals of the first half of the twentieth century, as well as a roll call of modern contributors who represent the leading scholars in their fields, including Peter M. Ascoli, grandson and biographer of Julius Rosenwald, and Kinshasha Holman Conwill, deputy director of the National Museum of African American Art and Culture. With far-reaching influence even today, the Julius Rosenwald Fund stands alongside the Rockefeller and Carnegie funds as a major force in American cultural history.

Though largely out of the public eye for more than a century, Gustave Caillebotte (1848–94) has come to be recognized as one of the most dynamic and original artists of the impressionist movement in Paris. His paintings are favorites of museum-goers, and recent restoration of his work has revealed more color, texture, and detail than was visible before while heightening interest in all of Caillebotte’s artwork. This lush companion volume to the National Gallery of Art’s major new exhibition, coorganized with the Kimbell Art Museum, explores the power and technical brilliance of his oeuvre.

The book features fifty of Caillebotte’s strongest paintings, including post-conservation images of Paris Street; Rainy Day, along with The Floorscrapers and Pont de l’Europe, all of which date from a particularly fertile period between 1875 and 1882. The artist was criticized at the time for being too realistic and not impressionistic enough, but he was a pioneer in adopting the angled perspective of a modern camera to compose his scenes. Caillebotte’s skill and originality are evident even in the book’s reproductions, and the essays offer critical insights into his inspiration and subjects.

This sumptuously illustrated publication makes clear why Caillebotte is among the most intriguing artists of nineteenth-century France, and it deepens our understanding of the history of impressionism.

More than one hundred and fifty years after Confederates fired on Fort Sumter, the Civil War still occupies a prominent place in the national collective memory. Paintings and photographs, plays and movies, novels, poetry, and songs portray the war as a battle over the future of slavery, often focusing on Lincoln’s determination to save the Union, or highlighting the brutality of brother fighting brother. Battles and battlefields occupy us, too: Bull Run, Antietam, and Gettysburg all conjure up images of desolate landscapes strewn with war dead. Yet the frontlines were not the only landscapes of the war. Countless civilians saw their daily lives upended while the entire nation suffered.

Home Front: Daily Life in the Civil War North reveals this side of the war as it happened, comprehensively examining the visual culture of the Northern home front. Through contributions from leading scholars from across the humanities, we discover how the war influenced household economies and the cotton economy; how the absence of young men from the home changed daily life; how war relief work linked home fronts and battle fronts; why Indians on the frontier were pushed out of the riven nation’s consciousness during the war years; and how wartime landscape paintings illuminated the nation’s past, present, and future.

A companion volume to a collaborative exhibition organized by the Newberry Library and the Terra Foundation for American Art, Home Front is the first book to expose the visual culture of a world far removed from the horror of war yet intimately bound to it.

What explains our current obsession with selfies? In I Love My Selfie noted cultural critic Ilan Stavans explores the selfie's historical and cultural roots by discussing everything from Greek mythology and Shakespeare to Andy Warhol, James Franco, and Pope Francis. He sees selfies as tools people use to disguise or present themselves as spontaneous and casual. This collaboration includes a portfolio of fifty autoportraits by the artist ADÁL; he and Stavans use them as a way to question the notion of the self and to engage with artists, celebrities, technology, identity, and politics. Provocative and engaging, I Love My Selfie will change the way readers think about this unavoidable phenomenon of twenty-first-century life.

In 2008, anthropologist Matti Bunzl was given rare access to observe the curatorial department of Chicago’s Museum of Contemporary Art. For five months, he sat with the institution’s staff, witnessing firsthand what truly goes on behind the scenes at a contemporary art museum. From fund-raising and owner loans to museum-artist relations to the immense effort involved in safely shipping sixty works from twenty-seven lenders in fourteen cities and five countries, Matti Bunzl’s In Search of a Lost Avant-Garde illustrates the inner workings of one of Chicago’s premier cultural institutions.

Bunzl’s ethnography is designed to show how a commitment to the avant-garde can come into conflict with an imperative for growth, leading to the abandonment of the new and difficult in favor of the entertaining and profitable. Jeff Koons, whose massive retrospective debuted during Bunzl's research, occupies a central place in his book and exposes the anxieties caused by such seemingly pornographic work as the infamous Made in Heaven series. Featuring cameos by other leading artists, including Liam Gillick, Jenny Holzer, Karen Kilimnik, and Tino Sehgal, the drama Bunzl narrates is palpable and entertaining and sheds an altogether new light on the contemporary art boom.

The last forty years have seen the rise of the personal computer, a device that has enabled ordinary individuals to access a tool that had been exclusive to laboratories and corporate technology centers. During this time, computers have become smaller, faster, more powerful, and more complex. So much has happened with so many products, in fact, that we often take for granted the uniqueness of our experiences with different machines over time.

The Interface Experience surveys some of the landmark devices in the history of personal computing—including the Commodore 64, Apple Macintosh Plus, Palm Pilot Professional, and Microsoft Kinect—and helps us to better understand the historical shifts that have occurred with the design and material experience of each machine. With its spiral-bound design reminiscent of early computer user manuals and thorough consideration of the cultural moment represented by each device, The Interface Experience is a one-of-a-kind tour of modern computing technology.

Josef Albers (1888–1976) was an artist, teacher, and seminal thinker on the perception of color. A member of the Bauhaus who fled to the U.S. in 1933, his ideas about how the mind understands color influenced generations of students, inspired countless artists, and anticipated the findings of neuroscience in the latter half of the twentieth century. With contributions from the disciplines of art history, the intellectual and cultural significance of Gestalt psychology, and neuroscience, Intersecting Colors offers a timely reappraisal of the immense impact of Albers’s thinking, writing, teaching, and art on generations of students. It shows the formative influence on his work of non-scientific approaches to color (notably the work of Johann Wolfgang von Goethe) and the emergence of Gestalt psychology in the first decades of the twentieth century. The work also shows how much of Albers’s approach to color—dismissed in its day by a scientific approach to the study and taxonomy of color driven chiefly by industrial and commercial interests—ultimately anticipated what neuroscience now reveals about how we perceive this most fundamental element of our visual experience. Edited by Vanja Malloy, with contributions from Brenda Danilowitz, Sarah Lowengard, Karen Koehler, Jeffrey Saletnik, and Susan R. Barry.

Jean-Antoine Houdon (1741-1826) has long been recognized as the greatest European portrait sculptor of the late eighteenth century, flourishing during both the American and French Revolutions as well as during the Directoire and Empire in France. Whether sculpting a head of state, an intellectual, or a young child, Houdon had an uncanny ability to capture the essence of his subject with a characteristic pose or expression. Yet until now, Houdon's exquisite sculptures have never been the subject of a major exhibition.

This lavish exhibition catalogue will immediately take its rightful place as the definitive work on Houdon. With more than one hundred color plates and two hundred black and white halftones, Jean-Antoine Houdon: Sculptor of the Enlightenment illustrates every stage of the sculptor's fascinating career, from his early portrayals of Louis XVI and Marie Antoinette to his stunning portraits of American patriots such as George Washington, the Marquis de Lafayette, John Paul Jones, Benjamin Franklin, and Thomas Jefferson. Indeed the images we hold dear of legendary Enlightenment figures like Diderot, Rousseau, d'Alembert, and Voltaire are based on works by Houdon. More than mere representations, these sculptures provide us fascinating, intimate glimpses into the very core of who these figures were. Houdon's genius animated even his less illustrious subjects, like his portraits of his family and friends, and filled his sculptures of children with delicacy and freshness. Accompanying the images of Houdon's masterworks are four insightful essays that discuss Houdon's views on art (based in part on a newly discovered manuscript written by the artist) as well as his prominence in the highly varied cultures of eighteenth-century France, Germany, and Russia.

From aristocrats to revolutionaries, actors to philosophers, Houdon's amazingly vivid portraits constitute the visual record of the Enlightenment and capture the true spirit of a remarkable age. Jean-Antoine Houdon finally gives these gorgeous works their due.

One of the leading artists of his generation, the Spanish sculptor Juan Muñoz (1953-2001) was known for his diverse and highly original body of work centering on the narrative possibilities of figures in environments. Juan Muñoz illustrates in full color approximately sixty works—including sculptures, drawings, and several major installations—which will be included in a major exhibition presented by the Hirshhorn Museum and Sculpture Garden and the Art Institute of Chicago in October 2001.

Muñoz's early work focused on architectural objects that implied a transitory human presence. Then, defying the trend among progressive artists, he began to introduce figures into his work. Casting his figures in papier-mâché, resin, and eventually bronze, Muñoz limited their size and descriptive details to heighten their psychological impact. In the 1990s, Muñoz created his signature "conversation pieces," large ensembles of figures installed in indoor or outdoor settings. Calling upon a wide range of sources in literature, music, film, as well as painting and sculpture, Muñoz's work explores the nature of psychological interaction and engages the viewer on a variety of perceptual levels.

Juan Muñoz includes essays by Neal Benezra, art critic Michael Brenson, and Olga Viso, as well as an interview with the artist by Paul Shimmel. Also featuring highlights from a 2001 installation commissioned by London's Tate Modern, Juan Muñoz is the most comprehensive overview of this challenging and exciting artist's work.

In 1990 the Department of Graphic Arts at the Louvre made their holdings available to guest curators for a program called Parti Pris, or "Taking Sides". In this program, major cultural figures outside of the discipline of art history organized exhibitions based on the department's collection. Within its first several years, this novel collaboration produced exhibitions curated by philosopher Jacques Derrida and filmmaker Peter Greenaway.

Jean Starobinski, noted literary critic and intellectual historian from the University of Geneva, was selected as the third curator in the program. In his exhibition and accompanying essay, Starobinski explores the theme of largesse in its broadest sense. Arguing that gift giving and receiving are fundamental human gestures, he examines graphic and textual representations from the offering of the apple to Eve to Salome's gift of the head of John the Baptist, from the giving of laws to the gift of death. Charity, the poetic gift, and the benefits of Fortune all play a role in Starobinski's extended meditation on the act of donation. Lavishly illustrated and
dazzling in its scope and imagination, Largesse is an exemplar of the rich intellectual work that can result from crossing disciplinary boundaries and considering history as a dense network of themes and allusions.

Recent years have seen an enormous surge of interest in fiber arts, with works made of thread on display in art museums around the world. But this art form only began to transcend its origins as a humble craft in the late nineteenth and early twentieth centuries, and it wasn’t until the 1950s and 1960s that artists used the fiber arts to build critical practices that challenged the definitions of painting, drawing, and sculpture. One of those artists was Lenore Tawney (1907–2007).

Raised and trained in Chicago before she moved to New York, Tawney had a storied career. She was known for employing an ancient Peruvian gauze weave technique to create a painterly effect that appeared to float in space rather than cling to the wall, as well as for being one of the first artists to blend sculptural techniques with weaving practices and, in the process, pioneered a new direction in fiber art. Despite her prominence on the New York art scene, however, she has only recently begun to receive her due from the greater art world. Accompanying a retrospective at the John Michael Kohler Arts Center, this catalog features a comprehensive biography of Tawney, additional essays on her work, and two hundred full-color illustrations, making it of interest to contemporary artists, art historians, and the growing audience for fiber art.

Rich with archival detail and compelling characters, Life on Display uses the history of biological exhibitions to analyze museums’ shifting roles in twentieth-century American science and society. Karen A. Rader and Victoria E. M. Cain chronicle profound changes in these exhibitions—and the institutions that housed them—between 1910 and 1990, ultimately offering new perspectives on the history of museums, science, and science education.
           
Rader and Cain explain why science and natural history museums began to welcome new audiences between the 1900s and the 1920s and chronicle the turmoil that resulted from the introduction of new kinds of biological displays. They describe how these displays of life changed dramatically once again in the 1930s and 1940s, as museums negotiated changing, often conflicting interests of scientists, educators, and visitors. The authors then reveal how museum staffs, facing intense public and scientific scrutiny, experimented with wildly different definitions of life science and life science education from the 1950s through the 1980s. The book concludes with a discussion of the influence that corporate sponsorship and blockbuster economics wielded over science and natural history museums in the century’s last decades.
           
A vivid, entertaining study of the ways science and natural history museums shaped and were shaped by understandings of science and public education in the twentieth-century United States, Life on Display will appeal to historians, sociologists, and ethnographers of American science and culture, as well as museum practitioners and general readers.         

Telling the story of this extraordinarily popular but controversial show, Jennifer Jane Marshall examines its history and the relationship between the museum’s director, Alfred H. Barr Jr., and its curator, Philip Johnson, who oversaw it. She situates the show within the tumultuous climate of the interwar period and the Great Depression, considering how these unadorned objects served as a response to timely debates over photography, abstract art, the end of the American gold standard, and John Dewey’s insight that how a person experiences things depends on the context in which they are encountered. An engaging investigation of interwar American modernism, Machine Art, 1934 reveals how even simple things can serve as a defense against uncertainty.

The Western discovery of Japanese paintings at nineteenth-century world’s fairs and export shops catapulted Japanese art to new levels of international popularity. With that popularity, however, came criticism, as Western writers began to lament a perceived end to pure Japanese art and a rise in westernized cultural hybrids. The Japanese response: nihonga, a traditional style of painting that reframed existing techniques to distinguish them from Western artistic conventions. Making Modern Japanese-Style Painting explores the visual characteristics and social functions of nihonga and traces its relationship to the past, its viewers, and emerging notions of the modern Japanese state.

Chelsea Foxwell sheds light on interlinked trends in Japanese nationalist discourse, government art policy, American and European commentary on Japanese art, and the demands of export. The seminal artist Kano Hogai (1828–88) is one telling example: originally a painter for the shogun, his art eventually evolved into novel, eerie images meant to satisfy both Japanese and Western audiences. Rather than simply absorbing Western approaches, nihonga as practiced by Hogai and others broke with pre-Meiji painting even as it worked to neutralize the rupture.

By arguing that fundamental changes to audience expectations led to the emergence of nihonga—a traditional interpretation of Japanese art for a contemporary, international market—Making Modern Japanese-Style Painting offers a fresh look at an important aspect of Japan’s development into a modern nation.

Berlin-based artist Matt Saunders has in recent years captured the art world’s eye with a striking series of hybrid images and animated films produced using techniques from both photography and painting. Using movie stars such as German actress Hertha Thiele and British actor Patrick McGoohan as subjects, Saunders recasts historical film and television images into new discourses about portraiture, iconography, and spectatorship.

 

Matt Saunders: Parallel Plot is both an artist’s book and a catalog that documents and reflects on a 2010 exhibition held at the Renaissance Society at the University of Chicago. Reproducing the stunning artwork from that show, the book also includes two conversations between Saunders and artist Josiah McElheny and an essay by experimental film scholar Bruce Jenkins that tackles the relationship among painting, photography, and film, as well as the dynamics of Saunders’s iconography. Offering insight into Saunders’s sophisticated working methods, this book is an evocative introduction to the work of this intriguing artist and the intertwined histories of film and photography.

In Mounting Frustration Susan E. Cahan uncovers the moment when the civil rights movement reached New York City's elite art galleries. Focusing on three controversial exhibitions that integrated African American culture and art, Cahan shows how the art world's racial politics is far more complicated than overcoming past exclusions.

A new approach to writing culture has arrived: multispecies ethnography. Plants, animals, fungi, and microbes appear alongside humans in this singular book about natural and cultural history. Anthropologists have collaborated with artists and biological scientists to illuminate how diverse organisms are entangled in political, economic, and cultural systems. Contributions from influential writers and scholars, such as Dorion Sagan, Karen Barad, Donna Haraway, and Anna Lowenhaupt Tsing, are featured along with essays by emergent artists and cultural anthropologists.

Delectable mushrooms flourishing in the aftermath of ecological disaster, microbial cultures enlivening the politics and value of food, and nascent life forms running wild in the age of biotechnology all figure in this curated collection of essays and artifacts. Recipes provide instructions on how to cook acorn mush, make cheese out of human milk, and enliven forests after they have been clear-cut. The Multispecies Salon investigates messianic dreams, environmental nightmares, and modest sites of biocultural hope.

For additional materials see the companion website: www.multispecies-salon.org/

Contributors. Karen Barad, Caitlin Berrigan, Karin Bolender, Maria Brodine, Brandon Costelloe-Kuehn, David S. Edmunds, Christine Hamilton, Donna J. Haraway, Stefan Helmreich, Angela James, Lindsay Kelley, Eben Kirksey, Linda Noel, Heather Paxson, Nathan Rich, Anna Rodriguez, Dorion Sagan, Craig Schuetze, Nicholas Shapiro, Miriam Simun, Kim TallBear, Anna Lowenhaupt Tsing
 

The image is so well known it is practically iconic: The reclusive poet, feminine and fragile, weaving verse of beguiling complexity from the room in which she kept herself sequestered from the world. The Belle of Amherst, the distinctive American voice, the singer of the soul’s mysteries: Emily Dickinson.
 
Yet that image scarcely captures the fullness and vitality of Dickinson’s life, most notably her many connections—to family, to friends, to correspondents, to the literary tastemakers of her day, even to the unnamed, and perhaps unknowable, “Master” to whom she addressed three of her most breathtaking works of prose. Through an exploration of a relatively small group of items from Dickinson’s vast literary remains, this volume—an accompaniment to an exhibition on Dickinson mounted at The Morgan Library & Museum in New York—demonstrates the complex ways in which these often humble objects came into conversation with other people, places, and events in the poet’s life. Seeing the network of connections and influences that shaped Dickinson’s life presents us with a different understanding of this most enigmatic yet elegiac poet in American letters, and allows us more fully to appreciate both her uniqueness and her humanity.
 
The materials collected here make clear that the story of Dickinson’s manuscripts, her life, and her work is still unfolding. While the image of Dickinson as the reclusive poet dressed only in white remains a popular myth, details of Dickinson’s life continue to emerge. Several items included both in the exhibit and in this volume were not known to exist until the present century. The scrap of biographical intelligence recorded by Sarah Tuthill in a Mount Holyoke catalogue, or the concern about Dickinson’s salvation expressed by Abby Wood in a private letter to Abiah Root, were acquired by Amherst College in the last fifteen years. What additional pieces of evidence remain to be uncovered and identified in the attics and basements of New England?
 
Published to accompany The Morgan Library & Museum’s pathbreaking exhibit I’m Nobody! Who are You? The Life and Poetry of Emily Dickinson—part of a series of exhibits at the Morgan celebrating and exploring the creative lives of significant women authors—The Networked Recluse  offers the reader an account of the exhibit itself, together with a series of contributions by curators, scholars of Dickinson, and poets whose own work her words have influenced.
 

Off Limits is the first examination of the Rutgers group, artists who came together on the Rutgers University, New Brunswick campus during the 1950s and revolutionized art practices and pedagogy. Based on interviews with artists, critics, and dealers from the period, the book connects the initiation of major trends such as Happenings, Pop Art, and Fluxus to the faculty, students, art curriculum, and events at the university. It is the first book to look not only at the work of individual artists, but to consider how interactions between these artists influenced their groundbreaking work.

Rutgers was clearly the place to be for experimental artists during the late 1950s and early 1960s. Allan Kaprow’s first Happening was presented at Rutgers. Roy Lichtenstein’s first Pop paintings, George Segal’s earliest figurative tableaux, Lucas Samaras’s radical exploration of media, and proto-Fluxus events by Robert Watts and George Brecht all took place on and around the campus. The innovative group rejected Abstract Expressionism for art based on the immediate experience of urban and industrial life, creating startling new artforms which remain startling and provocative.

 Led by the theoretical writings and art practice of Kaprow, the group created a New Art—art beyond the limits of the conventional and predictable, even beyond accepted notions of progressive trends. Lichtenstein recalls in an interview, “Kaprow showed us that art didn’t have to look like art.” Along with Lichtenstein, Kaprow, Segal, and Watts taught at Rutgers and challenged one another to take art “Off Limits” — beyond the limits of the conventional, the predictable — even beyond the progressive, as defined by Abstract Expressionist gesturalism. Their art incorporated the gritty environs, the technological, the everyday, making art radical, outrageous, disturbing, and humorous.

Since the last century, the relationship between vanguard and self-taught artists has been defined by contradiction. The established art world has been quick to make clear distinctions between trained and untrained artists, yet at the same time it has been fascinated by outliers whom it draws selectively and intermittently into its orbits. For a new exhibition launching at the National Gallery of Art, curator Lynne Cooke explores shifting conceptualizations of the American outlier across the twentieth century, drawing on the inherent sociality of the exhibition in her installation of these works. This companion catalog, Outliers and American Vanguard Art, offers a fantastic opportunity to consider works by schooled and self-taught creators in relation to each other and defined by historical circumstance.

The art works in Outliers and American Vanguard Art come from three distinct periods when the intersections between mainstream and outlier artists were most dynamic and productive, ushering in exhibitions of art based on various degrees of co-existence, inclusion, and assimilation. Works by such diverse artists as Charles Sheeler, Christina Ramberg, and Matt Mullican are set in conversation with a range of works by such self-taught artists as Horace Pippin, Janet Sobel, and Henry Darger. Cooke also examines a recent increase of radically expressive work that challenges what it means to be an outlier today. She reveals how these distinctions have been freighted with a particularly American point of view as she investigates our assumptions about creativity, artistic practice, and the role of the artist in contemporary culture.
 
Outliers and American Vanguard Art is the most comprehensive show ever to examine outliers in dialogue with their established peers.   It is sure to inspire vigorous conversation about how artists and the work they make are represented.

Honored with the 1990 American Institute of Architects Gold Medal for a lifetime of outstanding achievement, Fay Jones is an Arkansas original. In receiving the medal from Prince Charles of Great Britain, Jones was hailed as a “powerful and special genius who embodies nearly all the qualities we admire in an architect” and as an artist who used his vision to craft “mysterious and magical places” not only in Arkansas but all over the world.

This book accompanied a special museum exhibit of Jones’s life and work at the Old State House in Little Rock. It traces Jones’s development from his early years as a student of Frank Lloyd Wright and Bruce Goff, to the culmination of his ability in such arresting structures as Pinecote Pavilion in Picayune, Mississippi; Thorncrown Chapel in Eureka Springs, Arkansas; and Chapman University Chapel in Orange, California. Through the black-and-white photographs of the homes, chapels, and other buildings that Jones has created and the accompanying captions and interviews of the architect, the reader is allowed a view into this man’s remarkable talent.

Designing structures that fuse architecture and landscape, the organic and the man-made, Jones has created special places which touch their viewers with the power and subtlety of poetry. Herein we learn why.

From the Foreword by Robert Adams Ivy Jr.:

“Fay Jones’s architecture begins in order and ends in mystery. . . . His role can perhaps best be understood as mediator, a human consciousness that has arisen from the Arkansas soil and scoured the cosmos, then spoken through the voices of stone and wood, steel and glass. Art, philosophy, craft, and human aspiration coalesce in his masterworks, transformed from acts of will into harmonies: Jones lets space sing.”

Lavishly illustrated with nearly 400 color images, Painting the Maya Universe is the most thorough study and brilliant display of Classic Maya ceramic painting yet published. Building on twenty years of research and debate, Dorie Reents-Budet and her collaborators Joseph W. Ball, Ronald L. Bishop, Virginia M. Fields, and Barbara MacLeod bring together many perspectives, including the art historical, archaeological, epigraphical, and ethnohistorical, to examine one of the world’s great but overlooked painting traditions. With an emphasis on sixth- to eighth-century pottery featuring both pictorial and hieroglyphic imagery, Painting the Maya Universe presents an extraordinary exploration of the cultural roles and meanings of these Guatemalan, Belizean, and Mexican elite painted ceramics. Maya pottery is discussed both in aesthetic terms and for the important information it reveals about Maya society, artistry, politics, history, religion, and ritual. The range of ceramic painting styles developed during this period is also presented and defined in detail.
Painting the Maya Universe is the first publication to present a definitive translation of the hieroglyphic texts painted on these objects. With many glyphs deciphered here for the first time, this analysis reveals much about how these vessels were perceived and used by the Maya, their owners’ names, and, in several cases, the names of the artists who created them. This information is combined with archaeological and other data, including nuclear chemical analyses, to correlate painting styles with specific Maya sites.
Published in conjunction with Duke University Museum of Art and an exhibition touring the United States, Painting the Maya Universe presents an astonishing visual record as well as a monumental scholarly achievement. With photographs by Justin Kerr, the foremost photographer of pre-Columbian art, it includes over 90 unique full-color rollout photographs, each showing the entire surface of an object in a single frame. The book also addresses the questions and controversy regarding the loss of information that occurs when objects are removed from their archaeological context to become part of public and private collections.
Painting the Maya Universe will energize discussion of Maya pottery, hieroglyphic texts, and iconography. Its photographs, a lasting resource on this great painting tradition, will stimulate and delight the eye. It is a breakthrough in art history and Latin American scholarship that will enrich general readers and scholars alike.

In May 1853, Charles Dickens paid a visit to the “savages at Hyde Park Corner,” an exhibition of thirteen imported Zulus performing cultural rites ranging from songs and dances to a “witch-hunt” and marriage ceremony. Dickens was not the only Londoner intrigued by these “living curiosities”: displayed foreign peoples provided some of the most popular public entertainments of their day. At first, such shows tended to be small-scale entrepreneurial speculations of just a single person or a small group. By the end of the century, performers were being imported by the hundreds and housed in purpose-built “native” villages for months at a time, delighting the crowds and allowing scientists and journalists the opportunity to reflect on racial difference, foreign policy, slavery, missionary work, and empire.

 

Peoples on Parade provides the first substantial overview of these human exhibitions in nineteenth-century Britain. Sadiah Qureshi considers these shows in their entirety—their production, promotion, management, and performance—to understand why they proved so commercially successful, how they shaped performers’ lives, how they were interpreted by their audiences, and what kinds of lasting influence they may have had on notions of race and empire. Qureshi supports her analysis with diverse visual materials, including promotional ephemera, travel paintings, theatrical scenery, art prints, and photography, and thus contributes to the wider understanding of the relationship between science and visual culture in the nineteenth century.

 

Through Qureshi’s vibrant telling and stunning images, readers will see how human exhibitions have left behind a lasting legacy both in the formation of early anthropological inquiry and in the creation of broader public attitudes toward racial difference.

Iconoclast and artist Pope.L uses the body, sex, and race as his materials the way other artists might use paint, clay, or bronze.  His work problematizes social categories by exploring how difference is marked economically, socially, and politically. Working in a range of media from ketchup to baloney to correction fluid, with a special emphasis on performativity and writing, Pope.L pokes fun at and interrogates American society’s pretenses, the bankruptcy of contemporary mores, and the resulting repercussions for a civil society. Other favorite Pope.L targets are squeamishness about the human body and the very possibility of making meaning through art and its display.

Published to accompany his wonderfully inscrutable exhibition Forlesen at the Renaissance Society at the University of Chicago, Pope.L: Showing Up to Withhold is simultaneously an artist’s book and a monograph. In addition to reproductions of a number of his most recent artworks, it includes images of significant works from the past decade, and presents a forum for reflection and analysis on art making today with contributions by renowned critics and scholars, including Lawrie Balfour, Nick Bastis, Lauren Berlant, and K. Silem Mohammad.

 

How do the funding, setting architecture, and exhibition of a presidential library shape our understanding of the president’s character? And how do diverse performances of the presidency create radically different opportunities for the practice of American citizenship? In Presidential Libraries as Performance: Curating American Character from Herbert Hoover to George W. Bush, Jodi Kanter analyzes presidential libraries as performances that encourage visitors to think in particular ways about executive leadership and about their own roles in public life.

Kanter considers the moments in the presidents’ lives the museums choose to interpret, and not to interpret, and how the libraries approach common subjects in the presidential museum narrative—the presidents’ early years in relation to cultural ideals, the libraries’ representations of presidential failures, personal and political, and the question of presidential legacy. Identifying the limited number of strategies the libraries currently use to represent the diversity of the American experience and American character, Kanter offers concrete suggestions for reinventing and reshaping the practices of museum professionals and visitors within the walls of these institutions.

Presidential museums can tell us important things about the relationships between performance and politics, entertainment and history, and leaders and the people they lead. Kanter demonstrates how the presidential libraries generate normative narratives about individual presidents, historical events, and what it means to be an American.
 

One of the most fascinating aspects of Rembrandt's extraordinary artistic career is his suite of brooding half-length portraits of religious figures from the late 1650s and early 1660s. Painted during a difficult time in the artist's life—when he no longer enjoyed a ready market for his works and may have turned to his deep religious convictions for solace—these images are among the most evocative Rembrandt created. For years scholars have debated whether these paintings were intended as a series, yet until now these works have, unbelievably, never been shown together.

An exhibition by the National Gallery of Art and this accompanying catalog assemble seventeen of the paintings for the first time, finally giving the powerful images their due. Many of these subtle and wondrous paintings have been identified as images of apostles and evangelists, but among them are also representations of Christ, the Virgin, and still-unidentified saints and monks. In Rembrandt's typical fashion, the men and women in these portraits peer out of the dark recesses of dimly lit interiors as though burdened by the weight of their spiritual and emotional concerns. Yet recent archival research has raised questions about their attribution, the relationships among the paintings, and, in a broader sense, Rembrandt's life and career—issues addressed by the contributors to this volume. With its lavish color images and state-of-the-field research, Rembrandt's Late Religious Portraits will make a profound contribution to the understanding of this unique and provocative body of work.

When the Reverend Henry Carmichael opened the Sydney Mechanics’ School of Arts in 1833, he introduced a bold directive: for Australia to advance on the scale of nations, it needed to develop a science of its own. Prominent scientists in the colonies of New South Wales and Victoria answered this call by participating in popular exhibitions far and near, from London’s Crystal Place in 1851 to Sydney, Melbourne, Adelaide, and Brisbane during the final decades of the nineteenth century. A Science of Our Own explores the influential work of local botanists, chemists, and geologists—William B. Clarke, Joseph Bosisto, Robert Brough Smyth, and Ferdinand Mueller—who contributed to shaping a distinctive public science in Australia during the nineteenth century. It extends beyond the political underpinnings of the development of public science to consider the rich social and cultural context at its core. For the Australian colonies, as Peter H. Hoffenberg argues, these exhibitions not only offered a path to progress by promoting both the knowledge and authority of local scientists and public policies; they also ultimately redefined the relationship between science and society by representing and appealing to the growing popularity of science at home and abroad.
 

Winner of the 29th annual Lambda Literary Award for LGBT Studies

All museums are sex museums. In Sex Museums, Jennifer Tyburczy takes a hard look at the formation of Western sexuality—particularly how categories of sexual normalcy and perversity are formed—and asks what role museums have played in using display as a technique for disciplining sexuality. Most museum exhibits, she argues, assume that white, patriarchal heterosexuality and traditional structures of intimacy, gender, and race represent national sexual culture for their visitors. Sex Museums illuminates the history of such heteronormativity at most museums and proposes alternative approaches for the future of public display projects, while also offering the reader curatorial tactics—what she calls queer curatorship—for exhibiting diverse sexualities in the twenty-first century.

Tyburczy shows museums to be sites of culture-war theatrics, where dramatic civic struggles over how sex relates to public space, genealogies of taste and beauty, and performances of sexual identity are staged. Delving into the history of erotic artifacts, she analyzes how museums have historically approached the collection and display of the material culture of sex, which poses complex moral, political, and logistical dilemmas for the Western museum. Sex Museums unpacks the history of the museum and its intersections with the history of sexuality to argue that the Western museum context—from its inception to the present—marks a pivotal site in the construction of modern sexual subjectivity.    

One of Chicago's great cultural achievements, the Institute of Design was among the most important schools of photography in twentieth-century America. It began as an outpost of experimental Bauhaus education and was home to an astonishing group of influential teachers and students, including Lázló Moholy-Nagy, Harry Callahan, and Aaron Siskind. To date, however, the ID's enormous contributions to the art and practice of photography have gone largely unexplored. Taken by Design is the first publication to examine thoroughly this remarkable institution and its lasting impact.

With nearly 300 illustrations, including many never-before published photographs, Taken by Design examines the changing nature of photography over this critical period in America's midcentury. It starts by documenting the experimental nature of Moholy's Bauhaus approach and photography's new and enhanced role in training the "complete designer." Next it traces the formal and abstract camera experiments under Harry Callahan and Aaron Siskind, which aimed at achieving a new kind of photographic subjectivity. Finally, it highlights the ID's focus on conscious references to the processes of the photographic medium itself. In addition to photographs by Moholy, Callahan, and Siskind, the book showcases works by Barbara Crane, Yasuhiro Ishimoto, Joseph Jachna, Kenneth Josephson, Gyorgy Kepes, Nathan Lerner, Ray K. Metzker, Richard Nickel, Arthur Siegel, Art Sinsabaugh, and many others. Major essays from experts in the field, biographies, a chronology, and reprints of critical essays are also included, making Taken by Design an essential work for anyone interested in the history of American photography.


Contributors include:
Keith Davis, Lloyd Engelbrecht, John Grimes, Nathan Lyons, Hattula Moholy-Nagy, Elizabeth Siegel, David Travis, Larry Viskochil, James N. Wood

Throughout his life Turner was profoundly influenced by the eighteenth-century aesthetic theory of the "sublime." However, as Andrew Wilton now shows, the sublime was not merely a springboard for Turner's innovations; he reinterpreted the theory with great individualism and offered it to the world as a fresh and even more far-reaching philosophy of art.

The 140 illustrations, which include 32 in color, reproduce watercolors and prints that demonstrate the development of Turner's response to the sublime in areas as various as architecture, the picturesque, the "terrific," the sea, cities, mountains, and lakes. Many of the subjects have not previously been published.

When the British Museum opened its doors more than two centuries ago, scores of visitors waited eagerly outside for a first glimpse of ancient relics from Egypt, Greece, and Rome. Even today, in this age of satellite television and high-speed Internet access, museums maintain their unique allure, continuing to play a vital role in connecting us with little-known terrains and the deep mysteries of our historical past. That’s because, as Stephanie Moser argues in Wondrous Curiosities, museum displays don’t just transmit knowledge—they actually create it. 

Based on her exploration of the British Museum’s world-famous collection of Egyptian antiquities, this pioneering study reveals the powerful role of museums in shaping our understanding of science, culture, and history. Drawing on guidebooks and archival documents, Moser demonstrates that this British exhibition of ancient Egyptian artifacts was central to the way we came to define the remarkable society that produced them. And she also reveals the specific strategies—such as using pattern and symmetry, juxtaposing different types of objects, and singling out particular items—that the British Museum and others used, and still use, in representing the past. With a wealth of illustrations and a detailed account of how the museum acquired and displayed its Egyptian collections, Wondrous Curiosities will fascinate curators and scholars of British history, Egyptology, art history, archaeology, and the history of science.

The South was no stranger to world’s fairs prior to the end of the nineteenth century. Atlanta first hosted a fair in the 1880s, as did New Orleans and Louisville, but after the 1893 World’s Columbian Exposition in Chicago drew comparisons to the great exhibitions of Victorian-era England, Atlanta’s leaders planned to host another grand exposition that would not only confirm Atlanta as an economic hub the equal of Chicago and New York, but usher the South into the nation’s industrial and political mainstream. Nashville and Charleston quickly followed suit with their own exhibitions.

In the 1890s, the perception of the South was inextricably tied to race, and more specifically racial strife. Leaders in Atlanta, Nashville, and Charleston all sought ways to distance themselves from traditional impressions about their respective cities, which more often than not conjured images of poverty and treason in Americans barely a generation removed from the Civil War. Local business leaders used large-scale expositions to lessen this stigma while simultaneously promoting culture, industry, and economic  advancement. Atlanta’s Cotton States and International Exposition presented the city as a burgeoning economic center and used a keynote speech by Booker T. Washington to gain control of the national debate on race relations. Nashville’s Tennessee Centennial and International Exposition chose to promote culture over mainstream success and marketed Nashville as a “Centennial City” replete with neoclassical architecture, drawing on its reputation as “the Athens of the south.” Charleston’s South Carolina Inter-State and West Indian Exposition followed in the footsteps of Atlanta’s exposition. Its new class of progressive leaders saw the need to reestablish the city as a major port of commerce and designed the fair around a Caribbean theme that emphasized trade and the corresponding economics that would raise Charleston from a cotton exporter to an international port of interest.

Bruce G. Harvey studies each exposition beginning at the local and individual level of organization and moving upward to explore a broader regional context. He argues that southern urban leaders not only sought to revive their cities but also to reinvigorate the South in response to northern prosperity. Local businessmen struggled to manage all the elements that came with hosting a world’s fair, including raising funds, designing the fairs’ architectural elements, drafting overall plans, soliciting exhibits, and gaining the backing
of political leaders. However, these businessmen had defined expectations for their expositions not only in terms of economic and local growth but also considering what an international exposition had come to represent to the community and the region in which they were hosted. Harvey juxtaposes local and regional aspects of world’s fair in the South and shows that nineteenth-century expositions had grown into American institutions in their own right.

Bruce G. Harvey is an independent consultant and documentary photographer with Harvey Research and Consulting based in Syracuse, New York. He specializes in historic architectural surveys and documentation photography.

The post–World War II science-based technological revolution inevitably found its way into almost all international expositions with displays on atomic energy, space exploration, transportation, communications, and computers. Major advancements in Cold War science and technology helped to shape new visions of utopian futures, the stock-in-trade of world’s fairs. From the 1940s to the 1980s, expositions in the United States and around the world, from Brussels to Osaka to Brisbane, mirrored Cold War culture in a variety of ways, and also played an active role in shaping it. This volume illustrates the cultural change and strain spurred by the Cold War, a disruptive period of scientific and technological progress that ignited growing concern over the impact of such progress on the environment and humanistic and spiritual values. Through the lens of world’s fairs, contributors across disciplines offer an integrated exploration of the US–USSR rivalry from a global perspective and in the context of broader social and cultural phenomena—faith and religion, gender and family relations, urbanization and urban planning, fashion, modernization, and national identity—all of which were fundamentally reshaped by tensions and anxieties of the Atomic Age.

Since the first world’s fair in London in 1851, at the dawn of the era of industrialization, international expositions served as ideal platforms for rival nations to showcase their advancements in design, architecture, science and technology, industry, and politics. Before the outbreak of World War II, countries competing for leadership on the world stage waged a different kind of war—with cultural achievements and propaganda—appealing to their own national strengths and versions of modernity in the struggle for power. World’s Fairs on the Eve of War examines five fairs and expositions from across the globe—including three that were staged (Paris, 1937; Dusseldorf, 1937; and New York, 1939–40), and two that were in development before the war began but never executed (Tokyo, 1940; and Rome, 1942). This coauthored work considers representations of science and technology at world’s fairs as influential cultural forces and at a critical moment in history, when tensions and ideological divisions between political regimes would soon lead to war.