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In advance of celebrating its twentieth anniversary, the Samuel P. Harn Museum of Art presents this beautiful catalog of highlights of American art drawn from its permanent collection. Each work is represented by a full-page photograph and an accompanying description that places the piece and its creator in artistic and historical context. American Selections features eighty-eight works selected from the 2,490 American works in the museum's modern, contemporary, photography, and works on paper collections. The artists represented include Diane Arbus, Georgia O'Keeffe, Childe Hassam, Andy Warhol (the only artist included in the book twice), and many others, both well known and emerging. American painting of the first half of the twentieth century was one of the core collections when the Harn Museum opened its doors in 1990. In the two decades since, the American holdings have been greatly expanded, particularly with paintings, drawings, installations, and photographs from the second half of the century, thanks to the generosity of many donors.
"This brilliantly illustrated volume is the museum's first overall collection catalogue. It offers 50 highlights from the museum's five major collecting areas--African art, Asian art, contemporary art, modern art, and photography--as well as selections from its ancient American and Oceanic collections."--Publisher's website, http://www.upf.com/book.asp?id=STEUB001 viewed on Feb. 3, 2011.
"Insightful and profound."--Arthur P. Bourgeois, Governors State University, University Park, Illinois "More than just another exhibition catalogue. . . . The conceptual framework and orientation of the essay are original. [Poynor suggests] the complexity of African religious beliefs and the diversity of roles art plays in their manifestation."--Barbara Frank, SUNY-Stony Brook With dramatic color and black-and-white photographs of ninety-three pieces of art, African Art at the Harn Museum introduces the notable collection of West African art from the Samuel P. Harn Museum of Art. In the traditional view of many Africans, the spiritual and temporal worlds depend upon each other for companions...
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Believing that everything has a precedent, Chinese artists were never bashful about reproducing art, typically seeing less of a difference between the original work and reproductions. As a result, replication has often been considered a fundamental mode of production in Chinese art, with roots extending to antiquity. In turn, some collectors would knowingly brandish originals next to replicas while others completely rejected the idea of imitations as artworks. This book explores the controversial questions of faking, copying, and replicating Chinese painting, bronzes, ceramics, works on paper, and sculpture.
More than 100 masterworks from the collection, all in full color, each with a text about the artist and drawing as well as full documentation. 105 colour illustrations