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Three Artists (three Women)
Art historian Wagner looks at the imagery and careers of three important figures in the history of twentieth-century art: Eva Hesse, Lee Krasner, and Georgia O'Keeffe, relating their work to three decisive moments in the history of American modernism: the avant-garde of the 1920s, the New York School of the 1940s and 1950s, and the modernist redefinition undertaken in the 1960s. Their artistic contributions were invaluable, Wagner demonstrates, as well as hard-won. She also shows that the fact that these artists were women--the main element linking the three--is as much the index of difference among their art and experience as it is a passkey to what they share.--From publisher description.
A House Divided
“In this much-needed and courageous book, Anne Wagner lays down a gauntlet to all those interested in modern and contemporary art: to think anew about these works by canonic artists, and about the relationship of art to recent history and politics. Wagner presents an exhilarating and innovative set of closely worked historical arguments that are remarkably timely, and her lucid prose makes complex ideas and critical debates accessible to a broad audience.”—Briony Fer, Professor of History of Art, UCL “In A House Divided, Anne Wagner takes on the so-called post-war era in American art and asks searching questions about what that term might mean now, amid cultural division and perpetual war. Far more than a sum of its parts, this collection of essays is essential reading on American artists' ‘post-war’ responses to nationalism, state violence, and the 1960s.”—Mignon Nixon, author of Fantastic Reality: Louise Bourgeois and a Story of Modern Art
Mother Stone: the Vitality of Modern British Sculpture
In Mother Stone Anne Middleton Wagner looks anew at the carvings of the first generation of British modernists, a group centered around Henry Moore, Barbara Hepworth, and Jacob Epstein. Wagner probes the work of these sculptors, discusses their shared avant-garde materialism, and identifies a common theme that runs through their work and that of other artists of the period: maternity. Why were artists for three turbulent decades after the First World War seemingly preoccupied with representations of pregnant women and the mother and child? Why was this the great new subject, especially for sculpture? Why was the imagery of bodily reproduction at the core of the effort to revitalize what in Britain had become a somnolent art? Wagner finds the answers to these questions at the intersection between the politics of maternity and sculptural innovation. She situates British sculpture fully within the new reality of “bio-power”—the realm of Marie Stopes, Brave New World, and Melanie Klein. And in a series of brilliant studies of key works, she offers a radical rereading of this sculpture’s main concerns and formal language.
Jean-Baptiste Carpeaux
Drawing on a wide range of primary sources, Anne M. Wagner offers a new view of artist education and patronage, and a new definition of what 'academic' meant within the assumptions and expectations in the modern art in nineteenth-century France. Above all she shows what comprised success in the nineteenth-century world of art..
Lowry and the Painting of Modern Life
This is a timely study of the life and work of L.S. Lowry, as well as his contribution to the development of 20th-century British art.
Anne Truitt
Threshold is an in-depth look at a pivotal decade in the career of Anne Truitt (1921-2004): the 1970s. An authoritative essay by acclaimed art historian Anne M. Wagner delivers new insights into the artist and her work, while extensive excerpts from the artist's writings--including some previously unpublished--open a new window on Truitt's creative process and its preoccupation with perceptual experiences that hover along an invisible edge--a threshold, as Truitt often called it, or "the point at which the abstract nature of events becomes perceptible." In the 1970s this idea was an ongoing preoccupation, which she repeatedly attempted to define. The plates section includes generous illustrations of works from the period, including drawings, paintings and the sculptures for which she has been heralded as a key figure in postwar American art.
Minimal Art
This is a collection of writings by and about the work of the 1960s minimalists, illustrated with photographs of paintings, sculptures and performance.
Martin Puryear
Martin Puryear's enduring approach has galvanized his art for more than five decades: issues of democracy, identity, and liberty have long propelled him. Readers of this volume will learn how an artist's handling of a symbolic but vital human subject-- namely, liberty--can be best expressed in sculptural form through a visual language of great originality and certitude. Liberty / Libertà, published on the occasion of the artist's exhibition in the United States Pavilion at the 58th International Art Exhibition, La Biennale di Venezia, focuses on significant new work. In addition to extensive illustrations of recent work and new sculptures made for the Biennale, including monumental outdoor sculpture, the book features major texts by Darby English, Tobi Haslett, U.S. Commissioner Brooke Kamin Rapaport, and Anne M. Wagner. With a definitive illustrated chronology of the artist's career over the last fifty years, Liberty / Libertà is an essential study of this esteemed American artist.
Sarah Lucas
The most thorough survey of the provocative British artist, sculptor, and photographer, Sarah Lucas, one of the most important living British artists Sarah Lucas, having emerged in the UK in the late 1980s alongside artists including Tracey Emin and Damien Hirst, gained notoriety for her bawdy and irreverent sculptures. Often using found objects, Lucas provokes viewers with works that challenge our notions of gender, sexuality, and identity. Featuring eight essays and an interview with the artist, this volume reveals the breadth and complexity of Lucas's work in sculpture, photography, and installation over the past three decades.
Revolution in the Making
Half theWorld traces the ways in which women artists deftly transformed the language of sculpture to invent radically new forms and processes that privileged studio practice, tactility and the artist's hand. The volume seeks to identify the multiple strains of proto-feminist practices, characterized by abstraction and repetition, which rejected the singularity of the masterwork and rearranged sculptural form to be contingent upon the way the body moved around it in space. The catalogue begins in the immediate post-war era, with the first section spanning the late 1950s through the 1950s. Featuring historically important predecessors including Ruth Asawa, Lee Bontecou, Louise Bourgeois, Clair...
