Made in U.S.A. takes a new look at American art of the 1950s and 1960s and shows us how American it was. This is a provocative study of those artists who appropriated everyday images form the world of mass media and suburban living and forced their viewers into a sometimes witty, sometimes bittersweet, confrontation with the realities of living in late twentieth-century America.
A tour through the Yale University Art Gallery's holdings of American art, one of the most exceptional museum collections of its kind This volume presents an engaging selection of highlights and introduces readers to the richness and diversity of the Yale University Art Gallery's holdings of American art. An introductory essay outlines pivotal moments in the three-hundred-year history of collecting, exhibiting, and teaching with American art at Yale and commemorates the fiftieth anniversary of the founding of the Friends of American Arts at Yale, whose support continues to ensure the excellence of the collection. The more than one hundred object entries that follow create a narrative that charts the multiplicity of experiences and accomplishments of artists and artisans living and working in North America--from the earliest days of European settlement to the present. Among the catalogued objects are works by some of the best-known names in American art as well as recent acquisitions and masterpieces that represent diverse American identities. A dazzling range of media is displayed, including paintings and sculpture, medals, prints and drawings, photographs, jewelry, furniture, and decorative arts. Each object is illustrated with a full-page image and is accompanied by a one-page discussion that focuses on its contribution to the history of American art. Distributed for the Yale University Art Gallery
This beautiful and important book highlights the collection of European drawings at the Yale University Art Gallery, one of America's premier university museums. From intimate studies to exquisite finished compositions, this selection of works documents the history of European drawing practices beginning with late-medieval model books and progressing to the verge of the modern period. The accompanying text--written by a team of scholars--offers a unique introduction to various critical and technical aspects of the study of master drawings, brought to life through drawings from a range of national schools and in a variety of media. Among the drawings examined in this handsomely produced volume are an animated pen and ink sketch by Giulio Romano, a pastoral landscape by Claude Lorrain, a forceful and humorous caricature by Guercino, a scene from the epic poem Orlando Furioso by Jean-Honoré Fragonard, and a delicate portrait by Edgar Degas.
Exhibition catalogue for Strategic Ambiguity: The Obscure, Nebulous, and Vague in Symbolist Prints, December 6, 2012 to March 1, 2013 at the La Salle University Art Museum. The prints in this exhibition demonstrate how the Symbolist fascination with ambiguity seen in their choices of subject matter (i.e. half-human, half-animal hybrids such as harpies and sphinxes, gender ambiguity and androgyny) extended to formal strategies of representation that obscure form as well as content. This exhibition places Symbolist art in the context of Modernism by focusing on the ways in which artists experimented with print media and explored technical means of suggesting formal ambiguity (i.e. flattening, abstracting, obscuring) both to better match form and content and to push the boundaries of figurative art. The exhibition features work by artists Odilon Redon, Jan Toorop, Paul Gauguin, Maurice Denis, Édouard Vuillard, Félix Vallotton, Henri Ibels, Pierre Bonnard, Félix Buhot, Pierre Roche, Henri Martin, Armand Point, Maurice Dumont, Jeanne Jacquemin, Georges de Feure,François-Marius Valère Bernard, Carlos Schwabe and others. Print techniques represented in this survey range from lithography and etching to gypsography. The exhibition catalogue features essays by the curator and La Salle faculty from the disciplines of art history and philosophy.
Iconoclast and artist Pope.L uses the body, sex, and race as his materials the way other artists might use paint, clay, or bronze. His work problematizes social categories by exploring how difference is marked economically, socially, and politically. Working in a range of media from ketchup to baloney to correction fluid, with a special emphasis on performativity and writing, Pope.L pokes fun at and interrogates American society’s pretenses, the bankruptcy of contemporary mores, and the resulting repercussions for a civil society. Other favorite Pope.L targets are squeamishness about the human body and the very possibility of making meaning through art and its display. Published to accompany his wonderfully inscrutable exhibition Forlesen at the Renaissance Society at the University of Chicago, Pope.L: Showing Up to Withhold is simultaneously an artist’s book and a monograph. In addition to reproductions of a number of his most recent artworks, it includes images of significant works from the past decade, and presents a forum for reflection and analysis on art making today with contributions by renowned critics and scholars, including Lawrie Balfour, Nick Bastis, Lauren Berlant, and K. Silem Mohammad.
Lavishly illustrated in color, this book presents a spectacular collection of archaeological and artistic treasures covering the extent of Egyptian art from the Predynastic Period of the fourth millennium B.C. to the Greco-Roman period of the fourth century A.D. The volume features more than 130 objects ranging from architectural elements of a royal palace and funerary chapel to delicate jewelry and textile fragments, and contains many objects never previously shown in print. In an introductory essay David P. Silverman documents major expeditions to sites in Egypt and Nubia and summarizes the new information gleaned about ancient Egyptian civilization. Donald B. Redford provides a general treatment of ancient Egypt history. The objects themselves are introduced with concise essays by recognized Egyptologists: Edward Brovarski, Rita E. Freed, Arielle P. Kozloff, David O'Connor, Edna R. Russmann, William K. Simpson, and Josef W. Wegner. Contributors-- Edward Brovarski, Museum of Fine Arts, Boston Rita Freed, Museum of Fine Arts, Boston Arielle Kozloff, Cleveland Museum of Art David O'Connor, Institute of Fine Arts, New York University Donald Redford, University of Toronto Edna. R. Russman, Brooklyn Museum of Art David Silverman, University of Pennsylvania William Kelly Simpson, Yale University Josef W. Wegner, University of Pennsylvania
According to eminent French anthropologist Levi-Strauss, Reid "brought Northwest Coast art to the world scene, into dialogue with the whole of mankind." In this artistic biography, Karen Duffek gives an account of Bill Reid's life and work and of his role as artist, innovator, and ambassador of Haida art. After describing the processes by which Reid came to reconstruct the formal rules of a complex artistic tradition, Duffek focuses on his mastery of new techniques, particularly in making jewellery, techniques which others now emulate. In the key chapter "Beyond the Essential Form," she uses Reid's own categories of his work as "copies, adaptations and explorations," to give a candid appraisal of his artistic achievements -- from massive poles to gold boxes, from intricate bracelets to the great bronze Killerwhale statue.
The seven essays included in this volume move beyond the famed Ashcan School to recover the lesser known work of Robert Henri's women students. The contributors, who include well-known scholars of art history, American studies, and cultural studies demonstrate how these women participated in the "modernizing" of women's roles during this era.
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