Results by title

A revealing exploration of four centuries of Spanish drawings—from Murillo and Ribera to Goya and Sorolla—through the themes of religion, power, and daily life.

Spanish drawing has long been viewed through the lens of a few celebrated artists. Drawing in Spain Across Four Centuries brings together more than 60 works on paper from the complementary collections of the J. Paul Getty Museum and the Meadows Museum to tell a broader and more dynamic story. Essays trace the evolution of Spanish drawing from the Renaissance to modernity, showing how artists used drawing as a tool for training in workshops and academies, a means of circulating ideas across Europe and the Americas, and a medium for expression and experimentation. Organized around the themes of faith, politics, and everyday experience, the volume reveals a vibrant and diverse tradition that spans centuries and geography.

• Introduces readers to Spanish drawing, a field long overshadowed by Italian, French, German, and Dutch schools.
• Widens our view of the field by examining drawing and printmaking in Mexico City and other locations in Spain’s global empire.
• Features works by well-known artists like Bartolomé Esteban Murillo, Jusepe de Ribera, Francisco de Goya, Mariano Fortuny y Marsal, and Joaquín Sorolla y Bastida, alongside lesser-known figures whose compositions open new perspectives on the field.

Bringing together masterpieces and surprising discoveries, this volume offers readers an engaging and accessible introduction to the rich tradition of drawing in Spain and beyond.

This volume is published to accompany an exhibition on view at the Meadows Museum from September 19, 2027, to January 9, 2028, and at the J. Paul Getty Museum at the Getty Center from February 15 to June 4, 2028.

Despite recent technological changes that have digitized many forms of artistic creation, the practice of drawing, in the traditional sense, has remained constant. However, many publications about this subject rely on discipline-dependent distinctions to discuss the activity’s function. Drawing: The Enactive Evolution of the Practitioner redefines drawing more holistically as an enactive phenomenon, one reliant on motor responses, and makes connections between a variety of disciplines in order to find out what happens when we draw. Instead of the finite event of producing an artifact, drawing is a process and an end in itself. By synthesizing enactive thinking and the practice of drawing, this volume provides valuable insights into the creative mind, and will appeal to scholars and practitioners alike.

A unique study of lectionaries and graphic design as a site of biblical reception

How artists portrayed the Bible in large canvas paintings is frequently the subject of scholarly exploration, yet the presentation of biblical texts in contemporary graphic designs has been largely ignored. In this book Amanda Dillon engages multimodal analysis, a method of semiotic discourse, to explore how visual composition, texture, color, directionality, framing, angle, representations, and interactions produce potential meanings for biblical graphic designs. Dillon focuses on the artworks of two American graphic designers—the woodcuts designed by Meinrad Craighead for the Roman Catholic Sunday Missal and Nicholas Markell’s illustrations for the worship books of the Evangelical Lutheran Church in America—to present the merits of multimodal analysis for biblical reception history.

A biography of Artists Call, an influential 1980s artist group that protested US intervention in Latin America.

The 1980s saw the flourishing of neoliberalism in all realms of culture. In the fine arts, libertarian individualism, media sensationalism, and profit motive converged in million-dollar auctions—and a widespread insistence that activism had no place in the arts. Yet even some participants of this elite New York art world resisted. Dreams of a Continent tells the forgotten story of a diverse collective that defied culture-industry norms by condemning Reagan-era imperialism in Latin America while building transnational solidarity.

Drawing on fresh archival discoveries, Erina Duganne reconstructs the political imagination of Artists Call Against U.S. Intervention in Central America. A network with more than a thousand members in New York City, Artists Call produced thirty-one exhibitions in its brief life, along with poetry readings and performances that brought together US and Latin American cultural workers in support of self-determination throughout the hemisphere. This richly illustrated volume shows how the aesthetics of Artists Call emphasized historical contingency in order to envision radically alternative futures. In the process, its activism fostered a global community that overcame stark North-South power imbalances.

Dreamtime in Newark surveys the transition of Aljira from an artist-led studio space to a major arts institution in Newark, New Jersey, that abruptly closed in 2018 due to gentrification and financial pressure. Exploring the origins and milestones of the gallery, the book examines how Aljira became a space for the marginalized artist and curator and aligned with the trend of artists-led “alternative-art-spaces”—contributing to the rise of diverse art markets and breakthroughs in representation throughout the museum collections, exhibitions, and the broader art world. This volume offers a historical analysis of the relationship between Aljira and the Newark Museum of Art, given the many collaborations on exhibitions, residencies, and shared curatorial strategies. Along with providing a wider historicity, the book amplifies the museum’s role in preserving Aljira’s legacy—especially as the city’s arts ecosystem evolves. The book underscores the museum’s role in preserving Aljira’s history and legacy. Bringing together contributions from the extended community of artists, curators, critics, and art historians, the project works against the erasure of a vital part of contemporary art and cultural history. Before conversations of decolonizing the art world were commonplace, Aljira forged a free and open vision for the art world that cross-pollinated with the Newark Museum of Art’s egalitarian and populist roots and global collections. 

The book, which accompanies an exhibition, October 15, 2026–June 20, 2027, also considers the impact of Aljira, founded in the aftermath of the 1967 Newark Rebellion, on the city of Newark and how its thirty-five-year tenure driven by social engagement and community practice helped to crystalize Newark’s visual arts scene. 

Artists in the exhibition: Manuel Acevedo, Derrick Adams, David Ambrose, El Anatsui, Luis Cruz Azaceta, Firelei Báez, Amiri Baraka, Hugo X. Bastidas, Dawoud Bey, Camille Billops, Frank Bowling, Michael Paul Britto, Andy Brown, Nanette Carter, Willie Cole, Cicely Cottingham, Victor Davson, David Driskell, Dahlia Elsayed, Adama Delphine Fawundu, Chitra Ganesh, Jerry Gant, Jeffrey Gibson, Grace Graupe-Pillard, Carl E. Hazlewood, Duron Jackson, Ben Jones, Jayson Keeling, Donald Locke, Hew Locke, Franco Mondini-Ruiz, Olu Oguibe, Joe Overstreet, Nell Painter, Jaune Quick-to-See Smith, Judy Blum Reddy, Freddy Rodriguez, Kevin Sampson, Dread Scott, Fausto Sevila, Nyugen Smith, Helen Stummer, Mickalene Thomas, Noelle Lorraine Williams, Philemona Williamson