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The Sublime is Now
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Stick to the Skin
The first comparative history of African American and Black British artists, artworks, and art movements, Stick to the Skin traces the lives and works of over fifty painters, photographers, sculptors, and mixed-media, assemblage, installation, video, and performance artists working in the United States and Britain from 1965 to 2015. The artists featured in this book cut to the heart of hidden histories, untold narratives, and missing memories to tell stories that "stick to the skin" and arrive at a new "Black lexicon of liberation." Informed by extensive research and invaluable oral testimonies, Celeste-Marie Bernier’s remarkable text forcibly asserts the originality and importance of Blac...
In the Light of Italy
Prominent art historians Philip Conisbee, Sarah Faunce, Jeremy Strick, Peter Galassi, and Vincent Pomarede discuss the cultural, theoretical, and art historical background of this school of outdoor painting. They examine the early history of open-air painting, its theory and practice, the sites of Rome and southern Italy that were painted, and the delicate balance that existed among realism, memory and imagination. A rich selection of representative paintings is discussed and reproduced. The book is the catalogue for an exhibition at the National Gallery of Art, Washington, the Brooklyn Museum, and the Saint Louis Art Museum.
Art as an Asset in the 21st Century
David Kusin has developed the discipline of art economics by combining his prior curatorial career with working on Wall Street after business school. His breakthrough has been achieving the routine collaboration of connoisseurs, financial statisticians and data scientists. He lives in a century-old former office tower in downtown Dallas with his third borzoi, Dasha. They spend as much time as possible in south-central Montana.
Modern and Contemporary Art
In 1997 the Art Institute acquired from Lannan Foundation over one hundred important works of modern and contemporary art, a significant addition to one of the world's finest collections of twentieth-century art. The Lannan acquisitions include major examples of post-World War II Modernism, Abstract Expressionism, and installation art of the 1990s; of particular significance is a group of ten paintings, nine prints, and three photographs by the German artist Gerhard Richter. This issue of Museum Studies features entries on thirty-five works by artists such as Robert Motherwell, Clyfford Still, Richter, Bruce Nauman, Lucas Samaras, Chuck Close, and Felix Gonzalez-Torres, accompanied by full-page color plates. The issue also includes an introductory essay by Jeremy Strick, former Frances and Thomas Dittmer Curator of Twentieth-Century Painting and Sculpture at the Art Institute, on the history of the collection; as well as a complete illustrated checklist of the Lannan acquisitions.
Saints and Latin Decadence
What follows is not a story. It is descriptions of instinct and desire, of the secular and holy. It is, in a way, what I see the purpose of art being. This is a novel that doesn't behave. It does not participate in good manners. Samuel Beckett said that the task of the artist is to find a form to accommodate the mess. This novel trusts the reader to do the work of narrating connections and stretches the assumptions about what texts are. I disrupt old narratives not because I have no faith in narratives, but because I mean for the reader to see in my gaps and verbal impasses the opening for new narratives. I have aided the metamorphosis from narrative into non-narrative by experimenting with ...
Collecting the New
Collecting the New is the first book on the questions and challenges that museums face in acquiring and preserving contemporary art. Because such art has not yet withstood the test of time, it defies the traditional understanding of the art museum as an institution that collects and displays works of long-established aesthetic and historical value. By acquiring such art, museums gamble on the future. In addition, new technologies and alternative conceptions of the artwork have created special problems of conservation, while social, political, and aesthetic changes have generated new categories of works to be collected. Following Bruce Altshuler's introduction on the European and American his...
New Collecting: Exhibiting and Audiences after New Media Art
The collections of museums, galleries and online art organisations are increasingly broadening to include more new media art. Because new media is used as a means of documenting, archiving and distributing art, and because new media art might be interactive with its audiences, this highlights the new kinds of relationships that might occur between audiences as viewers, participants, selectors, taggers or taxonomisers. New media art presents many challenges to the curator and collector, but there is very little published analytical material available to help meet those challenges. This book fills that gap. Drawing from the editor's extensive research and the authors' expertise in the field, the book provides clear navigation through a disparate arena. The authors offer examples from a wide geographical reach, including the UK, North America and Asia and integrate the consideration of audience response into all aspects of their work. The book will be essential reading for those studying or practicing in new media, curating or museums and galleries.
Louise Bourgeois
Louise Bourgeois' drawings for the La Fabrica Matador series of "Artist Portfolios," originally produced in 1999, are executed on music notation paper using red, blue and black ballpoint pens. In a short statement written for the portfolio, Bourgeois writes: "At first there is terrific tension. Then slowly line, shape, space and color, like notes on a score, begin to form a rhythm."
