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Monet Hates Me
Available for a limited time, this artist’s book by renowned visual artist Tacita Dean explores her chance encounters with objects in the archives of the Getty Research Institute. As the Getty Research Institute artist in residence in 2014–15, Tacita Dean was asked to define a subject and identify a path of research. What she proposed instead was a project titled “The Importance of Objective Chance as a Tool of Research.” Her idea was to allow chance to be her guide. Dean researched randomly, picking out boxes from the collections without knowing their contents, meandering through objects and images from sources as varied as medieval alchemy books to twentieth-century artist letters. Monet Hates Me features reproductions of fifty artworks she created from Getty’s archival holdings along with enlightening texts that expand on her method of research and illustrate her encounters with the archives.
Harald Szeemann
Widely regarded as the most influential curator of the second half of the twentieth century, Harald Szeemann (1933–2005) is associated with some of the most important artistic developments of the postwar era. A passionate advocate for avant-garde movements like Conceptualism and Postminimalism, he collaborated with artists such as Joseph Beuys, Bruce Nauman, Richard Serra, and Cy Twombly, developing new ways of presenting art that reflected his sweeping vision of contemporary culture. Szeemann once stated that his goal as an exhibition maker was to create a “Museum of Obsessions.” This richly illustrated volume is a virtual collection catalogue for that imaginary institution, tracing t...
Inside the Getty
Inside the Getty takes readers on a tour from the Getty Villa to the Getty Center, from the Museum’s original home in J. Paul Getty’s house to the many labs, libraries, and galleries that fill the Center in Brentwood today. Readers will discover more about the history and daily operations of this institution. The second edition refreshes the illustration program with more recent photography and brings the text up to date with new information about some of the Museum’s most prominent new acquisitions, the Getty Research Institute’s holdings, the work done by the Getty Conservation Institute and the Getty Foundation, and changes to Getty operations site-wide.
Explodity
The artists’ books made in Russia between 1910 and 1915 are like no others. Unique in their fusion of the verbal, visual, and sonic, these books are meant to be read, looked at, and listened to. Painters and poets—including Natalia Goncharova, Velimir Khlebnikov, Mikhail Larionov, Kazimir Malevich, and Vladimir Mayakovsky— collaborated to fabricate hand-lithographed books, for which they invented a new language called zaum (a neologism meaning “beyond the mind”), which was distinctive in its emphasis on “sound as such” and its rejection of definite logical meaning. At the heart of this volume are close analyses of two of the most significant and experimental futurist books: Mir...
Blondell Cummings: Dance as Moving Pictures
Blondell Cummings: Dance as Moving Pictures is the first monograph dedicated to the pivotal work of African American choreographer and video artist Blondell Cummings. The book accompanies an exhibition of the same name co-organized by the Getty Research Institute and Art + Practice, on view at Art + Practice in Los Angeles from September 18, 2021 through February 19, 2022.A foundational figure in dance, Cummings bridged postmodern dance experimentation and Black cultural traditions. Through her unique movement vocabulary, which she called "moving pictures," Cummings combined the visual imagery of photography and the kinetic energy of movement in order to explore the emotional details of dail...
Art, Anti-art, Non-art
Introduction to two decades of artistic ferment in postwar Japan. As that devastated nation confronted the fraught legacy of World War II, a rapid succession of avant-garde groups began experimenting with new media and processes of making art, disrupting conventions to address the changes occurring around them. The works that remain from this era are largely ephemeral - exhibition flyers, programs for performances, musical scores, issues of short-lived journals, documentary photographs, pieces of mail art, and multiples made from the detritus of modern life - but the ideals of engagement and innovation that invigorated this creative surge are not.
Provenance
"This volume of essays offers new arguments regarding the significance of the social biography of art and the transformative power of ownership. It realigns the traditional art-historical paradigm that focuses on the moment of an object's origin and instead considers the longue durée of ownership. Whereas the term provenance may call to mind little more than a list of owners or the legal questions raised by competing entitlement claims, the essays in this book demonstrate that a nuanced approach recuperates important, even dramatic, aspects of the history of art. The authors present a broad perspective on provenance, investigating examples from Europe, Asia, Africa, and the Americas, and from ancient archaeology to conceptual art. They explore how stories of ownership are attached to objects, analyze important distinctions between provenance and provenience, and show how provenance can be monetized, politicized, suppressed, or otherwise instrumentalized."--Page 4 of cover.
Flesh and Bones
This illustrated volume examines the different methods artists and anatomists used to reveal the inner workings of the human body and evoke wonder in its form. For centuries, anatomy was a fundamental component of artistic training, as artists such as Leonardo da Vinci and Michelangelo sought to skillfully portray the human form. In Europe, illustrations that captured the complex structure of the body—spectacularly realized by anatomists, artists, and printmakers in early atlases such as Andreas Vesalius’s De humani corporis fabrica libri septem of 1543—found an audience with both medical practitioners and artists. Flesh and Bones examines the inventive ways anatomy has been presented from the sixteenth through the twenty-first century, including an animated corpse displaying its own body for study, anatomized antique sculpture, spectacular life-size prints, delicate paper flaps, and 3-D stereoscopic photographs. Drawn primarily from the vast holdings of the Getty Research Institute, the over 150 striking images, which range in media from woodcut to neon, reveal the uncanny beauty of the human body under the skin
The First Modern Museums of Art
In the eighteenth and early nineteenth centuries the first modern, public museums of art—civic, state, or national—appeared throughout Europe, setting a standard for the nature of such institutions that has made its influence felt to the present day. Although the emergence of these museums was an international development, their shared history has not been systematically explored until now. Taking up that project, this volume includes chapters on fifteen of the earliest and still major examples, from the Capitoline Museum in Rome, opened in 1734, to the Alte Pinakothek in Munich, opened in 1836. These essays consider a number of issues, such as the nature, display, and growth of the muse...
Building the Getty
Provides an history of the planning, design, and construction of the six-building Getty Center in Los Angeles, one of the great cultural complexes. This book takes us behind the scenes of the thirteen-year-long, one-billion-dollar project.
