Results by title
146 books match the query 'Collections, Catalogs, Exhibitions' and 12 start with c
Camille Claudel
Emerson Bowyer
J. Paul Getty Trust, The, 2023
Camille Claudel (1864–1943) was among the most daring and visionary sculptors of the late nineteenth century. Although much attention has been paid to her tumultuous life—her affair with her mentor, Auguste Rodin; the premature end to her career; her thirty-year institutionalization in an asylum—her art remains little known outside of France. Memorably praised by critic Octave Mirbeau in 1895 as “a revolt of nature: a woman of genius,” Claudel was celebrated for her brilliance during a time when women sculptors were rare.
Featuring more than two hundred photographs along with contributions from leading experts, this publication accompanies the first comprehensive survey of Claudel’s oeuvre in nearly forty years. With essays exploring the many facets of her life, work, and reception; a biography; commentary by American sculptor Kiki Smith; and a fascinating appendix of documents written by Claudel and her contemporaries, this volume reevaluates the artist’s work on its own merits and repositions her legacy within a more complex genealogy of modernism.
This volume, copublished with The Art Institute of Chicago, accompanies an exhibition on view at The Art Institute of Chicago from October 7, 2023, to February 19, 2024 and at the J. Paul Getty Museum at the Getty Center from April 2 to July 21, 2024.
Canadian Art, Volume 1 (A-F)
Canadian Art: Volume I (A-F)Edited by Charles C. Hill and Pierre B. Landry
University of Chicago Press, 1988
Catalogue of the Roman Imperial Coins in the Charles University Collection (235–284 A.D.)
David Lužický
Karolinum Press, 2026
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.).
Charles Deering and Ramón Casas / Charles Deering y Ramón Casas
A Friendship in Art / Una amistad en el arteIsabel Coll Mirabent
Northwestern University Press, 2012
This lavishly illustrated, bilingual art book presents drawings by Ramón Casas in the Charles Deering McCormick Library of Special Collections at the Northwestern University Library and oil paintings by Casas from private collections and the Art Institute of Chicago.
Charles Deering and Ramón Casas follows the development and dramatic dissolution of a three-way friendship that connected the Spanish painter Ramón Casas (1866–1932); the Chicago industrialist Charles Deering (1852–1927), who was a collector and admirer of Casas’s work as well as a patron of Northwestern University; and the Spanish artist Miguel Utrillo (1862–1934), Casas’s lifelong friend and the father of the French painter Maurice Utrillo.
Casas introduced Deering to Sitges, a beach town near Barcelona, Spain, where the latter created a palatial estate with a museum to house his art collection. Miguel Utrillo served as director of the museum. The text explores the treasures housed at Maricel and what happened among the three men that led Casas to abandon Utrillo and Deering to depart Spain, taking his art collection with him.
Collections Management as Critical Museum Practice
Edited by Cara Krmpotich and Alice Stevenson
University College London, 2024
Collections Management as Critical Museum Practice redefines collections management as a political, critical, and social project, contradicting its misperception as a set of fixed procedures and universal practices. Highlighting national museums and community-led heritage work worldwide, this book explores the complexities of numbering, digitization, and description alongside the realities of climate change, global pandemics, and natural disasters. The contributors draw on their local experiences to emphasize the varying practices, ethics, and workplace pragmatics defining this work.
Collective Yearning
Black Women Artists from the Zimmerli Art MuseumAmber N. Wiley
Rutgers University Press, 2026
When Rutgers professor Amber N. Wiley began teaching her African American Art class in 2018, she and her students made a shocking discovery. While the university’s Zimmerli Art Museum had over seventy thousand artworks in its collection, only one of the pieces on display was by a Black American woman. The students, who came from a variety of majors and reflected the ethnic diversity of New Jersey itself, agreed something needed to be done to correct this imbalance. And so begins the story of the groundbreaking exhibition: Collective Yearning.
In this book, Wiley tells the story of how she and her student curators took a deep dive into the Zimmerli’s holdings to recover, catalog, and display its art by Black women. Along the way, contributors discuss the ethics of curation, the history of African American expressive traditions, and the institutional biases that erase or marginalize Black female perspectives. Richly illustrated with pieces from the exhibition, including little-seen work by such visionaries as Faith Ringgold, Renée Stout, and Kara Walker, Collective Yearning makes a powerful statement on the importance of showcasing Black women artists.
Corpus Vasorum Antiquorum, Fascicule 10
Athenian Red-Figure Column and Volute KratersDespoina Tsiafakis
J. Paul Getty Trust, The, 2019
This new fascicule of the CVA—the tenth issued by the J. Paul Getty Museum and the first ever to be published open access—presents a selection of Attic red-figure column and volute kraters ranging from 520 to 510 BCE through the early fourth century BCE. Among the works included are a significant dinoid volute krater and a volute krater with the Labors of Herakles that is attributed to the Kleophrades Painter.
The free online edition of this open-access catalogue is available at www.getty.edu/publications/cva10/. Also available are free PDF, EPUB, and Kindle/MOBI downloads of the book, CSV and JSON downloads of the object data, and JPG downloads of the catalogue images.
Crafting America
Artists and Objects, 1940 to TodayJen Padgett
University of Arkansas Press, 2020
Craft is a diverse, democratic art form practiced by Americans of every gender, age, ethnicity, and class. Crafting America traces this expansive range of skilled making in a variety of forms, from ceramics and wood to performance costume and community-based practice. In exploring the intertwining of craft and American experience, this volume reveals how artists leverage their craft to realize the values of life, liberty, and the pursuit of happiness.
Accompanying an exhibition of the same title organized by Crystal Bridges Museum of American Art, Crafting America features contributions from scholars that illuminate craft’s relationship to ritual and memory, personal independence, abstraction, and Native American histories. The richly illustrated catalog section—with more than a hundred color images accompanied by lively commentary—presents a vivid picture of American craft over the past eight decades, offering fresh insights on the relationships between objects.
Building upon recent advances in craft scholarship and encouraging more inclusive narratives, Crafting America presents a bold statement on the vital role of craft within the broader context of American art and identity.
Creatures
Leonid Tishkov
Duke University Press, 0
The work in Creatures is centered on the imaginative and playful idea of the Dabloids, foot-shaped creatures of all sizes and colors who emerge magically from the Dablus, a sausage-like object that appears one misty morning in the fields of a collective farm. Tishkov’s drawings, paintings, and sculptures recount the history of the Dablus and the Dabloids. These mystical creatures are at once pets and gods, beings immensely wise and yet foolish. They are surreal manifestations of the artistic consciousness even as they are symbols of human isolation. In this sense, Tishkov’s roots in surrealism are charged with humorous social commentary often reminiscent of Hogarth, Red Grooms, and Robert Crumb.
Tishkov explores other mythological and absurdist themes in a series of elephant watercolors in which people live within an elephant trunk. The book also features a translation of the text of Tishkov’s play "Dabloids—A Fantasy," as well as brief essays that provide an introduction to the artist and his work, his mythology, and his roots in Russian folk culture.
Creatures introduces a major contemporary Russian artist to the western world. It should delight all who enter its world and should expand the horizons of all who delight in its artistic merits.
Crossroads of Culture
Anthropology Collections at the Denver Museum of Nature & ScienceChip Colwell
University Press of Colorado, 2010
The book presents 123 full-color images to highlight the museum's cultural treasures. Selected for their individual beauty, historic value, and cultural meaning, these objects connect different places, times, and people. From the mammoth hunters of the Plains to the first American pioneer settlers to the flourishing Hispanic and Asian diasporas in downtown Denver, the Rocky Mountain region has been home to a breathtaking array of cultures. Many objects tell this story of the Rocky Mountains' fascinating and complex past, whereas others serve to bring enigmatic corners of the globe to modern-day Denver.
Crossroads of Culture serves as a behind-the-scenes tour of the museum's anthropology collections. All the royalties from this publication will benefit the collections of the Denver Museum of Nature & Science's Department of Anthropology.
Crystals in Art
Ancient to TodayLauren Haynes
University of Arkansas Press, 2019
Taken together, all of these objects illustrate how crystal has bridged the gap between things we can see and things we can’t: science and art, fact and faith, medicine and magic—the visible and the invisible.
Published in collaboration with Crystal Bridges Museum of American Art and University of Arkansas School of Art.
Curating at the Edge
Artists Respond to the U.S./Mexico BorderBy Kate Bonansinga
University of Texas Press, 2014
Located less than a mile from Juárez, the Stanlee and Gerald Rubin Center for Visual Arts at the University of Texas at El Paso is a non-collecting institution that serves the Paso del Norte region. In Curating at the Edge, Kate Bonansinga brings to life her experiences as the Rubin’s founding director, giving voice to a curatorial approach that reaches far beyond the limited scope of “border art” or Chicano art. Instead, Bonansinga captures the creative climate of 2004–2011, when contemporary art addressed broad notions of destruction and transformation, irony and subversion, gender and identity, and the impact of location on politics.
The Rubin’s location in the Chihuahuan desert on the U.S./Mexican border is meaningful and intriguing to many artists, and, consequently, Curating at the Edge describes the multiple artistic perspectives conveyed in the place-based exhibitions Bonansinga oversaw. Exciting mid-career artists featured in this collection of case studies include Margarita Cabrera, Liz Cohen, Marcos Ramírez ERRE, and many others. Recalling her experiences in vivid, first-person scenes, Bonansinga reveals the processes a contemporary art curator undertakes and the challenges she faces by describing a few of the more than sixty exhibitions that she organized during her tenure at the Rubin. She also explores the artists’ working methods and the relationship between their work and their personal and professional histories (some are Mexican citizens, some are U.S. citizens of Mexican descent, and some have ancestral ties to Europe). Timely and illuminating, Curating at the Edge sheds light on the work of the interlocutors who connect artists and their audiences.