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Clara Istlerová: A Life Among Letters

A Portrait of John Singer Sargent

Beyond Beauty

Penguin Modern Classics

A rich, thought-provoking collection of essays, critiques and interviews from the influential author of Ain't I a Woman and All About Love'If one could make a people lose touch with their capacity to create, lose sight of their will and their power to make art, then the work of subjugation, of colonization, is complete. Such work can be undone only by acts of reclamation.'In a collection of essays, critiques and interviews, bell hooks responds to the ongoing dialogues about producing, exhibiting and criticising art and aesthetics in a world increasingly concerned with identity politics. hooks shares her own experience of the transformative power of art whilst exploring topics ranging from art in education and the home to the politics of space and imagination as a revolutionary tool. She positions her writings on visual politics within the ever-present question of how art can be empowering within the Black community. Speaking with artists such as Carrie Mae Weems and Alison Saar, and examining the work of Jean-Michel Basquiat and Felix Gonzalez-Torres, Art on My Mind is a generous and expansive body of work that has become increasingly relevant since it was first published in 1995. Here is an essential tool for understanding the contemporary moment, and a fundamental text for any reader concerned with making and sustaining a democratic artistic culture.

A rich, thought-provoking collection of essays, critiques and interviews from the influential author of Ain't I a Woman and All About Love ‘If one could make a people lose touch with their capacity to create, lose sight of their will and their power to make art, then the work of subjugation, of colonization, is complete. Such work can be undone only by acts of reclamation.’ In a collection of essays, critiques and interviews, bell hooks responds to the ongoing dialogues about producing, exhibiting and criticising art and aesthetics in a world increasingly concerned with identity politics. hooks shares her own experience of the transformative power of art whilst exploring topics ranging from art in education and the home to the politics of space and imagination as a revolutionary tool. She positions her writings on visual politics within the ever-present question of how art can be empowering within the Black community. Speaking with artists such as Carrie Mae Weems and Alison Saar, and examining the work of Jean-Michel Basquiat and Felix Gonzalez-Torres, Art on My Mind is a generous and expansive body of work that has become increasingly relevant since it was first published in 1995. Here is an essential tool for understanding the contemporary moment, and a fundamental text for any reader concerned with making and sustaining a democratic artistic culture.

Visual Politics

Art on My Mind

"Rarely have I so much enjoyed reading art historical scholarship. Iskin's biography of Mary Cassatt is so engaging and offers new insights informed by various methodological concerns including feminism, network theory, and transatlantic studies."—Cécile Whiting, Chancellor’s Professor Emerita of Art History, University of California, Irvine “Here is an in-depth, highly detailed account of certain of Mary Cassatt’s lifelong transatlantic connections—social, professional, and political—and the important role they played in the legacy she left behind.”—Michelle Foa, author of&nbsp;Georges Seurat: The Art of Vision "Iskin’s book brings Mary Cassatt to life as never before for contemporary readers. It reframes her legacy and reinterprets her art in the context of the feminist politics of her era, shining a revelatory spotlight on Cassatt’s devotion to the cause of women’s suffrage and to the collaborative feminist friendships that sustained her."—Norma Broude, Professor Emerita of Art History at American University, Washington, DC "Ruth E. Iskin provides a provocative new account of Cassatt's transatlantic career as an artist, art collector, art advisor, suffragist, and champion of the avant-garde. This book deepens and complicates our understanding of the Impressionist’s multifaceted impact on modernity."—David M. Lubin, author of Grand Illusions: American Art and the First World War "Through meticulous research embedded in an engaging narrative, Ruth E. Iskin offers a complete story of Mary Cassatt’s cosmopolitan life and work. The book offers new perspectives on the artist’s legacy by highlighting her cultivation of robust transatlantic networks that supported her feminist ideals as an artist and advisor to prominent American collectors of her era."—Paula J. Birnbaum, author of&nbsp;Sculpting a Life: Chana Orloff between Paris and Tel Aviv "With pathbreaking new insights, Iskin’s ambitious book lays out Cassatt’s radically advanced views on women’s issues and the pursuit of making great art. Engagingly written and profusely illustrated, one finds no analysis of brush strokes here, but much insight into the artist’s subjects and settings, including Cassatt’s novel approach to painting mothers and children without recourse to the customary sentimentality."—Karen Offen, author of Debating the Woman Question in the French Third Republic, 1870–1920

The Making of a Transatlantic Legacy

Mary Cassatt between Paris and New York

Manuscripts from the British Library, Bibliotheque Nationale de France and the Getty Museum have been selected, and projects are illustrated with step-by-step photographs and beautiful images of the finished works.

Manuscripts from the British Library, Bibliotheque Nationale de France and the Getty Museum have been selected, and projects are illustrated with step-by-step photographs and beautiful images of the finished works.

Practical Projects Inspired by the Calligraphy and Illuminations of Medieval Manuscripts

The Art of the Scribe

"Art has poisoned our life", proclaimed Dutch artist and De Stijl co-founder Theo van Doesburg. Reacting to the tumultuous crises of the twentieth century, especially the horrors of the First World War, avant-garde artists and writers sought to destroy art by transforming it into the substance of everyday life. Following the evolution of these revolutionary groups, How to Be Avant-Garde charts its pioneers and radical ideas.
From Paris to New York, from Zurich to Moscow and Berlin, avant-gardists challenged the confines of the definition of art along with the confines of the canvas itself. Art historian Morgan Falconer starts with the dynamic Futurist founder Filippo Tommaso Marinetti, whose manifesto extolling speed, destruction and modernity seeded avant-gardes across Europe. In turn, Dadaists Hugo Ball and Emmy Hennings sought to replace art with political cabaret and the Surrealists tried to exchange it for tools to plumb the unconscious.
He guides us through the Russian Constructivists with their adventures in advertising and utopianism and then De Stijl with the geometric abstractions of Piet Mondrian. The Bauhaus broke more boundaries, transmuting art into architecture and design. Finally, the Situationists swapped art for politics, with many of their ideas inspiring the 1968 Paris student protests.
How to Be Avant-Garde is a journey through the interlocking networks of these richly creative lives with their visions of a better world, their sometimes sympathetic but often strange and turbulent conversations and their objects and writings that defied categorisation.

Modern Artists and the Quest to End Art

How to Be Avant-Garde

From Duchamp to Bourgeois, Harrison's curation of 20th-century sculpture looks at the study of the human bodyGuided by a desire to illuminate and inspire reflection on the sculptural form, Dominique Lévy of LGDR invited American artist Rachel Harrison (born 1966) to curate a presentation of 20th-century sculpture. The exhibition that emerged comprises a group of works that consider Modernism's devotion to that most fundamental of subjects: the human figure. Stage Fright features works by Louise Bourgeois, Constantin Brâncusi, Marcel Duchamp, Marisol, Alberto Giacometti and Alina Szapocznikow that represent the body in extremis--shown ruptured in pieces or pared down to the essentials. The individual pieces act as surrogates that stand in for the whole. Taken together, the works on view embody various conceptions of personhood as routed through objects, whether rendered with aching specificity, as in the clefts and folds of Szapocznikow's plaster Ventre (Belly) (1968), or invoked as a generic type, as in Marisol's totemic couple The Blacks (1962). Richly illustrated with installation views from the exhibition, Stage Fright features a new text by Harrison--framed as a dialogue between filmmaker Alfred Hitchcock and figure skater Peggy Fleming--that critically examines the presentation and the artist's own practice and approach.

From Duchamp to Bourgeois, Harrison’s curation of 20th-century sculpture looks at the study of the human bodyGuided by a desire to illuminate and inspire reflection on the sculptural form, Dominique Lévy of LGDR invited American artist Rachel Harrison (born 1966) to curate a presentation of 20th-century sculpture. The exhibition that emerged comprises a group of works that consider Modernism’s devotion to that most fundamental of subjects: the human figure. Stage Fright features works by Louise Bourgeois, Constantin Brâncusi, Marcel Duchamp, Marisol, Alberto Giacometti and Alina Szapocznikow that represent the body in extremis—shown ruptured in pieces or pared down to the essentials. The individual pieces act as surrogates that stand in for the whole. Taken together, the works on view embody various conceptions of personhood as routed through objects, whether rendered with aching specificity, as in the clefts and folds of Szapocznikow’s plaster Ventre (Belly) (1968), or invoked as a generic type, as in Marisol’s totemic couple The Blacks (1962). Richly illustrated with installation views from the exhibition, Stage Fright features a new text by Harrison—framed as a dialogue between filmmaker Alfred Hitchcock and figure skater Peggy Fleming—that critically examines the presentation and the artist’s own practice and approach.

Rachel Harrison's Stage Fright

A detailed account of the Black British artist Donald Rodney (1961-1998), one of the most important multi-media artists of his generation whose career spanned the 1980s and the 1990s.

A detailed account of the Black British artist Donald Rodney (1961-1998), one of the most important multi-media artists of his generation whose career spanned the 1980s and the 1990s.

Art, Race and the Body Politic

Donald Rodney

Mark Hadjipateras's remarkable range of works, including monotypes, prints, drawings, paintings, sculpture, photosculpture, and numerous installations throughout the yearsMark Hadjipateras, Homeward presents the richly varied, fifty-year-long career of an international artist who has a deep understanding of our common roots in nature and the universal human need for belonging. His work explores nature as our shared "home" in a transhistorical exploration of prehistoric, modern, and futuristic habitats and their inhabitants. Mark Hadjipateras revisits major 20th -century movements such as surrealism, modernism, minimalism, and pop art, honoring them through his own distinct style to produce new, thought-provoking interpretations. Rendered in a remarkable range of media such as paintings, sculptures, assemblages, and site-specific installations, his forms harmoniously blend opposite qualities: movement with static form, weightlessness with volume, abstraction with figuration.

Mark Hadjipateras, HOMEWARD

Laura Carpenter was instrumental in bringing contemporary art to Santa Fe in the mid-1990s. She began her career as a gallerist in Dallas, Texas, showing artists such as Jean-Michel Basquiat and Martin Puryear. Upon her arrival in Santa Fe, she held solo shows for the likes of Kiki Smith, Christo and Jeanne-Claude, Juan Muñoz and Susan Rothenberg, transforming the Santa Fe art world. Ellsworth Kelly, John Chamberlain, Ed Ruscha, Joan Mitchell, Louise Bourgeois and Marina Arbamovic all had shows or came to support fellow artists. Carpenter was also a founder of SITE, helping to permanently establish Santa Fe as a premier destination for contemporary art. Through the lens of Carpenter's experience, this book presents a combination of personal anecdotes, interviews and archival material—from Carpenter as well as critics, curators, art dealers, collectors and artists—to create a historical snapshot of this pivotal time in Santa Fe.

Laura Carpenter was instrumental in bringing contemporary art to Santa Fe in the mid-1990s. She began her career as a gallerist in Dallas, Texas, showing artists such as Jean-Michel Basquiat and Martin Puryear. Upon her arrival in Santa Fe, she held solo shows for the likes of Kiki Smith, Christo and Jeanne-Claude, Juan Muñoz and Susan Rothenberg, transforming the Santa Fe art world. Ellsworth Kelly, John Chamberlain, Ed Ruscha, Joan Mitchell, Louise Bourgeois and Marina Arbamovic all had shows or came to support fellow artists. Carpenter was also a founder of SITE, helping to permanently establish Santa Fe as a premier destination for contemporary art. Through the lens of Carpenter's experience, this book presents a combination of personal anecdotes, interviews and archival material—from Carpenter as well as critics, curators, art dealers, collectors and artists—to create a historical snapshot of this pivotal time in Santa Fe.

Laura Carpenter - The Gallery Years 1974-1996

An experimental memoir from an acclaimed Bay Area social-practice artist and activistIn this innovative rethinking of the artist monograph, Oakland-based artist, educator and activist Sita Kuratomi Bhaumik (born 1981) captures conversations with the people who shaped her creative practices and helped her map the tools that are most important to her: wonder, intuition, criticality and belonging. Bhaumik's work has been celebrated by the San Francisco Chronicle and other media for using art as a strategy to connect memory and history with the urgent social issues of our time, as in her 2016 installation Estamos Contra El Muro / We Are Against the Wall, in which she collaborated with artists, makers and community members to recreate (and then smash) the US/Mexico border wall out of brick-shaped piñatas. We Make Constellations of the Stars interrogates not only what makes an artist an artist, but how connection is crucial for personal and political transformation as an artist of color. Visionary and historian Jeff Chang (author of Can't Stop Won't Stop: A History of the Hip Hop Generation) writes: "Thoughtful, engaged and bold, Sita Bhaumik stares down trauma, cruelty and injustice, but always leads us towards wonder, joy and hope. By drawing connections and making meaning of seemingly unrelated points of light, she reveals new pathways toward belonging and freedom for all. She is one of the most insightful and inspiring artists of our time."

An experimental memoir from an acclaimed Bay Area social-practice artist and activistIn this innovative rethinking of the artist monograph, Oakland-based artist, educator and activist Sita Kuratomi Bhaumik (born 1981) captures conversations with the people who shaped her creative practices and helped her map the tools that are most important to her: wonder, intuition, criticality and belonging. Bhaumik's work has been celebrated by the San Francisco Chronicle and other media for using art as a strategy to connect memory and history with the urgent social issues of our time, as in her 2016 installation Estamos Contra El Muro / We Are Against the Wall, in which she collaborated with artists, makers and community members to recreate (and then smash) the US/Mexico border wall out of brick-shaped piñatas. We Make Constellations of the Stars interrogates not only what makes an artist an artist, but how connection is crucial for personal and political transformation as an artist of color. Visionary and historian Jeff Chang (author of Can't Stop Won't Stop: A History of the Hip Hop Generation) writes: "Thoughtful, engaged and bold, Sita Bhaumik stares down trauma, cruelty and injustice, but always leads us towards wonder, joy and hope. By drawing connections and making meaning of seemingly unrelated points of light, she reveals new pathways toward belonging and freedom for all. She is one of the most insightful and inspiring artists of our time."

Sita Kuratomi Bhaumik: We Make Constellations of the Stars

John O'Connor (1913-2004), a romantic but also a realist, recorded old endangered things, high and low: churches, canals, barges, dilapidated barns and garden sheds.With a keen eye, sure hand and way with words, he drew, engraved, painted and described what he valued most around him.

John O'Connor (1913-2004), a romantic but also a realist, recorded old endangered things, high and low: churches, canals, barges, dilapidated barns and garden sheds.With a keen eye, sure hand and way with words, he drew, engraved, painted and described what he valued most around him.

Clara Istlerová: A Life Among Letters

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