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Alfred H. Barr, Jr. and the Intellectual Origins of the Museum of Modern Art
An intellectual biography of Alfred H. Barr, Jr. founding director of the Museum of Modern Art. Growing up with the twentieth century, Alfred Barr (1902-1981), founding director of the Museum of Modern Art, harnessed the cataclysm that was modernism. In this book—part intellectual biography, part institutional history—Sybil Gordon Kantor tells the story of the rise of modern art in America and of the man responsible for its triumph. Following the trajectory of Barr's career from the 1920s through the 1940s, Kantor penetrates the myths, both positive and negative, that surround Barr and his achievements. Barr fervently believed in an aesthetic based on the intrinsic traits of a work of ar...
Modern Women: Women Artists at The Museum of Modern Art
This text examines the collection of feminist art in the Museum of Modern Art. It features essays presenting a range of generational and cultural perspectives.
To Her Credit
There’s history as it’s told, and then there’s history as it actually happened. You may think you know the stories behind the world’s most well-known, groundbreaking achievements, but To Her Credit is here to make you reevaluate our collective story as it has been written. This book celebrates the stories of women, from ancient times until the 1990s, whose contributions have been overwritten and, far too often, accredited to men. The pattern of female achievements being stolen, overwritten, or straight-up ignored is as old as time. Authors Kaitlin Culmo and Emily McDermott—with stunning art by Kezia Gabriella—reclaim the work of these deserving heroines and offer reminders of wha...
The Oxford Critical and Cultural History of Modernist Magazines
This volume contains 44 original essays on the role of periodicals in the United States and Canada. Over 120 magazines are discussed by expert contributors, completely reshaping our understanding of the construction and emergence of modernism.
Sensational Religion
The result of a collaborative, multiyear project, this groundbreaking book explores the interpretive worlds that inform religious practice and derive from sensory phenomena. Under the rubric of "making sense," the studies assembled here ask, How have people used and valued sensory data? How have they shaped their material and immaterial worlds to encourage or discourage certain kinds or patterns of sensory experience? How have they framed the sensual capacities of images and objects to license a range of behaviors, including iconoclasm, censorship, and accusations of blasphemy or sacrilege? Exposing the dematerialization of religion embedded in secularization theory, editor Sally Promey proposes a fundamental reorientation in understanding the personal, social, political, and cultural work accomplished in religion’s sensory and material practice. Sensational Religion refocuses scholarly attention on the robust material entanglements often discounted by modernity’s metaphysic and on their inextricable connections to human bodies, behaviors, affects, and beliefs.
Robert Ryman
"In this first book-length study of Robert Ryman, Suzanne Hudson traces the artist's production from his first paintings in the early 1950s, many of which have never been exhibited or reproduced, to his more recent gallery shows. Ryman's largely white-on-white paintings represent his careful working over of painting's conventions at their most radically reduced. Through close readings of the work, Hudson casts Ryman as a painter for whom painting was conducted as a continuous personal investigation. Ryman's method--an act of "learning by doing"--as well as his conception of painting as "used paint" set him apart from second-generation abstract expressionists, minimalists, or conceptualists. ...
Robert Ryman
This first book-length study of Robert Ryman argues that his work is a continuous experiment in the possibilities of painting. In this first book-length study of Robert Ryman, Suzanne Hudson traces the artist's production from his first paintings in the early 1950s, many of which have never been exhibited or reproduced, to his recent gallery shows. Ryman's largely white-on-white paintings represent his careful working over of painting's conventions at their most radically reduced. Through close readings of the work, Hudson casts Ryman as a painter for whom painting was conducted as a continuous personal investigation. Ryman's method—an act of “learning by doing”—as well as his concep...
God in the Gallery
An art historian develops a theological, philosophical, and historical framework within which to experience and interpret modern and contemporary art that is in dialogue with the Christian faith.
Off-Modern Catholic Aesthetics
Acknowledgements List of Illustrations Introduction 1 Off-Modern Profiles 2 Unpacking the Dynamics of Catholic Modernisation 3 “The Eclipse of God”: Transplanted Artists 4 “Background Metaphorics”: Exchanges between Art and Religion 5 Structure of the Book 1 Antinomies of Art and Theology. Marie-Alain Couturier and the Contradictions of Modern Sacred Culture Introduction: Couturier’s Conceptual Zig Zags Prelude. Paris, 1953. The Contradictoires Text Sacred Art between the Mechanical and Natural Attitudes 1 Le Saulchoir/Paris, 1918–1930. Catholic Endgame, or the Narrative of Decline 1.1 “Down with the Republic, Long Live the King!”: Couturier’s Romantic Anti-Capitalism and t...
In the Aftermath of Art
By juxtaposing issues and problems, Donald Preziosi's latest collection of essays, In the Aftermath of Art, opens up multiple interpretive possibilities by bringing to the surface hidden resonances in the implications of each text. In re-reading his own writings, Preziosi opens up alternatives to contemporary discourses on art history and visual culture. A critical commentary by critic, historian, and theorist Johanne Lamoureux complements the author's own introduction, mirroring the multiple interpretations within the essays themselves.
