The first biography of visionary artist Agnes Martin, one of the most original and influential painters of the postwar period Over the course of a career that spanned fifty years, Agnes Martin’s austere, serene work anticipated and helped to define Minimalism, even as she battled psychological crises and carved out a solitary existence in the American Southwest. Martin identified with the Abstract Expressionists but her commitment to linear geometry caused her to be associated in turn with Minimalist, feminist, and even outsider artists. She moved through some of the liveliest art communities of her time while maintaining a legendary reserve. “I paint with my back to the world,” she says both at the beginning and at the conclusion of a documentary filmed when she was in her late eighties. When she died at ninety-two, in Taos, New Mexico, it is said she had not read a newspaper in half a century. No substantial critical monograph exists on this acclaimed artist—the recipient of two career retrospectives as well as the National Medal of the Arts—who was championed by critics as diverse in their approaches as Lucy Lippard, Lawrence Alloway, and Rosalind Krauss. Furthermore, no attempt has been made to describe her extraordinary life. The whole engrossing story, told here for the first time, Agnes Martin is essential reading for anyone interested in abstract art or the history of women artists in America.
Why Have There Been No Great Women Artists?" asked the prominent art historian Linda Nochlin in a provocative 1971 essay. Today her insightful critique serves as a benchmark against which the progress of women artists may be measured. In this book, four prominent critics and curators describe the impact of women artists on contemporary art since the advent of the feminist movement.
The authors of After the Revolution return with an incisive study of the work of contemporary women artists. In After the Revolution, the authors concluded that "The battles may not all have been won . . . but barricades are gradually coming down, and work proceeds on all fronts in glorious profusion." Now, with The Reckoning, authors Heartney, Posner, Princenthal, and Scott bring into focus the accomplishments of 24 acclaimed international women artists born since 1960 who have benefited from the groundbreaking efforts of their predecessors. The book is organized in four thematic sections: "Bad Girls" profiles artists whose work represents an assault on conventional notions of gender and racial difference. "History Lessons" offers reflections on the self in the context of history and globalization. "Spellbound" focuses on women’s embrace of the irrational, subjective, and surreal, while "Domestic Disturbances" takes on women's conflicted relationship to home, family, and security. Written in lively prose and fully illustrated throughout, this book gives an informed account of the wonderful diversity of recent contemporary art by women. "An indispensable contribution to the literature on contemporary art by women." (Whitney Chadwick, author of Women, Art and Society) "In the 2007 book After the Revolution: Women Who Transformed Contemporary Art, [the authors] set a new standard in documenting and evaluating the work of a dozen key women artists, spanning generations between the 1960s to the 2000s. . . The beat goes on with the appearance of The Reckoning, written by the same authors in the same accessible scholarly style, but reflecting important historical changes over the past decade and more. In line with the increased presence of women in mainstream art, the book includes twice as many artists as its predecessor. And its global reach has expanded vastly, stretching from Europe and the Americas to Africa and China." (Holland Cotter, The New York Times)
An original and valuable intervention in the fast-growing field of feminist and new art histories, Nancy Spero, Encounters offers a sophisticated interpretation of the work of a highly original and under-represented woman artist. The study proposes a new model of comparatism within the field of visual studies, mirroring and complementing Spero's dialogic manner of working. Spero's encounters with the work of Ana Mendieta, H.D., Isadora Duncan and others are examined.
Nasca pots, Quimbaya figurines, Moche porn figures, stone shamans. Fakes and forgeries run rampant in the Andean art collections of international museums and private individuals. Authors Karen Bruhns and Nancy Kelker examine the phenomenon in this eye-opening volume. They discuss the most commonly forged classes and styles of artifacts, many of which were being duplicated as early as the 19th century. More important, they describe the system whereby these objects get made, purchased, authenticated, and placed in major museums as well as the complicity of forgers, dealers, curators, and collectors in this system. Unique to this volume are biographies of several of the forgers, who describe their craft and how they are able to effectively fool connoisseurs and specialists. This is an important accessible introduction to pre-Columbian art fraud for archaeologists, art historians, and museum professionals alike. A parallel volume by the same authors discusses fakes in Mesoamerican archaeology.
The authors of After the Revolution return with an incisive study of the work of contemporary women artists. In After the Revolution, the authors concluded that "The battles may not all have been won . . . but barricades are gradually coming down, and work proceeds on all fronts in glorious profusion." Now, with The Reckoning, authors Heartney, Posner, Princenthal, and Scott bring into focus the accomplishments of 24 acclaimed international women artists born since 1960 who have benefited from the groundbreaking efforts of their predecessors. The book is organized in four thematic sections: "Bad Girls" profiles artists whose work represents an assault on conventional notions of gender and racial difference. "History Lessons" offers reflections on the self in the context of history and globalization. "Spellbound" focuses on women’s embrace of the irrational, subjective, and surreal, while "Domestic Disturbances" takes on women's conflicted relationship to home, family, and security. Written in lively prose and fully illustrated throughout, this book gives an informed account of the wonderful diversity of recent contemporary art by women. "An indispensable contribution to the literature on contemporary art by women." (Whitney Chadwick, author of Women, Art and Society) "In the 2007 book After the Revolution: Women Who Transformed Contemporary Art, [the authors] set a new standard in documenting and evaluating the work of a dozen key women artists, spanning generations between the 1960s to the 2000s. . . The beat goes on with the appearance of The Reckoning, written by the same authors in the same accessible scholarly style, but reflecting important historical changes over the past decade and more. In line with the increased presence of women in mainstream art, the book includes twice as many artists as its predecessor. And its global reach has expanded vastly, stretching from Europe and the Americas to Africa and China." (Holland Cotter, The New York Times)
Full Spectrum: Paintings by Raimonds Staprans is the most extensive survey of the figures, landscapes and still lifes of Latvian-American painter Raimonds Staprans (born 1926). Published by the Crocker Art Museum in Sacramento, the book accompanies the museum's exhibition of the same name. Elegant design and superb reproductions reveal Staprans as a master of composition, color and existential nuance. Essayists include Scott A. Shields, Crocker Art Museum Associate Director and Chief Curator; Paul J. Karlstrom, art historian and former West Coast regional director of the Smithsonian Archives of American Art; David Pagel, art critic for the Los Angeles Times and Professor of Art Theory and History at Claremont Graduate University; Nancy Princenthal, author and former senior editor at Art in America; Ed Schad, Associate Curator at The Broad; and John Yau, art critic and poet.
Why Have There Been No Great Women Artists?" asked the prominent art historian Linda Nochlin in a provocative 1971 essay. Today her insightful critique serves as a benchmark against which the progress of women artists may be measured. In this book, four prominent critics and curators describe the impact of women artists on contemporary art since the advent of the feminist movement.
The first major survey of artist Katherine Bradford, renowned for her wholly personal paintings of swimmers, bathers, and superheroes. Known for her vibrant palette and eccentric compositions, Katherine Bradford came to prominence late in life, when her unique style of painting finally garnered critical acclaim in the art world. The artist’s paintings are populated by a wide-ranging cast of characters—from swimmers to superheroes to, most recently, mothers—who anchor and connect her work across time and media. Her figures, who often defy society’s expectations of women (and other gender norms), thus serve as surrogates for a mother, painter, and lesbian coming of age at the turn of the twenty-first century. Featuring more than twenty years of her work, Flying Woman: The Paintings of Katherine Bradford considers the artist’s many themes, her ongoing exploration of different painterly modes, and her lifelong fascination with color.
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.