Results by title

A sweeping reconsideration of the artist we thought we knew—and the forces that obscured her legacy.

Fiercely ambitious and independent, Mary Cassatt defied expectations to become one of the most radical artists of the Impressionist movement, though she was—and remains—the least understood. Cassatt commanded and manipulated strains of old master and contemporary painting to express her female subjectivity through a brilliantly modern oeuvre on par with those of the most revered Impressionists. However, mishandled by the Parisian art establishment during her lifetime, and later by art historians and curators, she became known almost exclusively as a sentimentalizing painter of mothers and children.

How did this happen to the most aspiring, revolutionary female artist of the late nineteenth and early twentieth centuries? In Cassatt Reconsidered, author Mary G. Morton probes this central question and more, demonstrating how Cassatt disturbed conventional ideals of femininity, childhood, and maternity, an uncompromising feat for which she paid dearly during her lifetime and in the annals of art historiography.

Vibrantly illustrated with more than 100 images, Cassatt Reconsidered rewards readers with a fuller understanding of an artist who stands apart for daring to express, on her own terms, the unique, intimate experiences of modern women.

Spotlights over five hundred Roman Imperial coins from Charles University's vast collection of ancient coins.

Charles University’s collection of ancient coins in its present state has existed since l945. Greek, Roman, and other ancient coins were entrusted to the care of the Seminar for Ancient History and compiled into a single collection along with antique coins from the original collection of the Czech University. The collection contains about 4,000 pieces altogether, mostly in silver and bronze.

This publication presents a catalogue of 564 Roman Imperial coins dating from 235 to 284 A. D. and is part of efforts to gradually catalogue the entirety of Charles University’s collection of ancient coins, stored in the depository of the CU Institute of Greek and Latin Studies. The book builds upon Václav Marek’s 1985 monograph, The Roman Republican Coins in the Collection of Charles University, and Federico Gambacorta’s 2013 continuation titled Catalogue of the Late Roman, Byzantine and Barbaric Coins in the Charles University Collection (364–1092 A. D.).

Chicago is a city dedicated to the modern—from the skyscrapers that punctuate its skyline to the spirited style that inflects many of its dwellings and institutions, from the New Bauhaus to Hull-House. Despite this, the city has long been overlooked as a locus for modernism in the arts, its rich tradition of architecture, design, and education disregarded. Still the modern in Chicago continues to thrive, as new generations of artists incorporate its legacy into fresh visions for the future. Chicago Makes Modern boldly remaps twentieth-century modernism from our new-century perspective by asking an imperative question: How did the modern mind—deeply reflective, yet simultaneously directed—help to dramatically alter our perspectives on the world and make it new?

Returning the city to its rightful position at the heart of a multidimensional movement that changed the face of the twentieth century, Chicago Makes Modern applies the missions of a brilliant group of innovators to our own time. From the radical social and artistic perspectives implemented by Jane Addams, John Dewey, and Buckminster Fuller to the avant-garde designs of László Moholy-Nagy and Mies van der Rohe, the prodigious offerings of Chicago's modern minds left an indelible legacy for future generations. Staging the city as a laboratory for some of our most heralded cultural experiments, Chicago Makes Modern reimagines the modern as a space of self-realization and social progress—where individual visions triggered profound change. Featuring contributions from an acclaimed roster of contemporary artists, critics, and scholars, this book demonstrates how and why the Windy City continues to drive the modern world.

As the lead singer of the Grammy Award–winning rock band Quetzal and a scholar of Chicana/o and Latina/o studies, Martha Gonzalez is uniquely positioned to articulate the ways in which creative expression can serve the dual roles of political commentary and community building. Drawing on postcolonial, Chicana, black feminist, and performance theories, Chican@ Artivistas explores the visual, musical, and performance art produced in East Los Angeles since the inception of NAFTA and the subsequent anti-immigration rhetoric of the 1990s.

Showcasing the social impact made by key artist-activists on their communities and on the mainstream art world and music industry, Gonzalez charts the evolution of a now-canonical body of work that took its inspiration from the Zapatista movement, particularly its masked indigenous participants, and that responded to efforts to impose systems of labor exploitation and social subjugation. Incorporating Gonzalez’s memories of the Mexican nationalist music of her childhood and her band’s journey to Chiapas, the book captures the mobilizing music, poetry, dance, and art that emerged in pre-gentrification corners of downtown Los Angeles and that went on to inspire flourishing networks of bold, innovative artivistas.

In the early 1990s, a major exhibition Chicano Art: Resistance and Affirmation, 1965-1985 toured major museums around the United States. As a first attempt to define and represent Chicano/a art for a national audience, the exhibit attracted both praise and controversy, while raising fundamental questions about the nature of multiculturalism in the U.S.

This book presents the first interdisciplinary cultural study of the CARA exhibit. Alicia Gaspar de Alba looks at the exhibit as a cultural text in which the Chicano/a community affirmed itself not as a "subculture" within the U.S. but as an "alter-Native" culture in opposition to the exclusionary and homogenizing practices of mainstream institutions. She also shows how the exhibit reflected the cultural and sexual politics of the Chicano Movement and how it serves as a model of Chicano/a popular culture more generally.

Drawing insights from cultural studies, feminist theory, anthropology, and semiotics, this book constitutes a wide-ranging analysis of Chicano/a art, popular culture, and mainstream cultural politics. It will appeal to a diverse audience in all of these fields.

A gripping story of the cultural resilience of the descendants of Geronimo and Cochise

This book reveals the conflicting meanings of power held by the federal government and the Chiricahua Apaches throughout their history of interaction. When Geronimo and Naiche, son of Cochise, surrendered in 1886, their wartime exploits came to an end, but their real battle for survival was only beginning. Throughout their captivity in Florida, Alabama, and Oklahoma, Naiche kept alive Chiricahua spiritual power by embodying it in his beautiful hide paintings of the Girl’s Puberty Ceremony—a ritual at the very heart of tribal cultural life and spiritual strength.

This narrative is a tribute to the Chiricahua people, who survive today, despite military efforts to annihilate them, government efforts to subjugate them, and social efforts to destroy their language and culture. Although federal policy makers brought to bear all the power at their command, they failed to eradicate Chiricahua spirit and identity nor to convince them that their lower status was just part of the natural social order. Naiche, along with many other Chiricahuas, believed in another kind of power. Although not known to have Power of his own in the Apache sense, Naiche’s paintings show that he believed in a vital source of spiritual strength. In a very real sense, his paintings were visual prayers for the continuation of the Chiricahua people. Accessible to individuals for many purposes, Power helped the Chiricahuas survive throughout their history.

Griffin-Pierce explores Naiche’s artwork through the lens of current anthropological theory on power, hegemony, resistance, and subordination. As she retraces the Chiricahua odyssey during 27 years of incarceration and exile by visiting their internment sites, she reveals how the Power was with them throughout their dark period. As it was when the Chiricahua warriors and their families struggled to stay alive, Power remains the centering focus for contemporary Chiricahua Apaches. Although never allowed to return to their beloved homeland, not only are the Chiricahua Apaches surviving today, they are keeping their traditions alive and their culture strong and vital.

What happens when a passage from the world of light to the world of darkness opens onto a new chapter of life? A retrospective account of a pioneering Indian artist who continued to paint after losing his eyesight. 

Benode Behari Mukherjee (1904–1980) was one of the most influential and highly regarded artists in the history of modern Indian art. Chitrakar brings together four broadly autobiographical pieces written by Benode Behari after he lost his eyesight in the summer of 1957. The Artist is a selective reminiscence recapturing various pictures from the years of his childhood, apprenticeship, and maturity, up to the time he became blind. Master of the Household is a candid and complex fictionalized account of his struggle to come to terms with his blindness and continue making art. The Creator is a simple, but telling, parable about the vanity of inordinate ambition. Finally, Art Quest outlines his philosophy of art and the basic elements of his work. 

In the sensitive and empathetic hands of K. G. Subramanyan, once his student and later himself a major figure in the Indian art scene, this translation, appearing for the first time in English, is a precious and timeless document.