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Endrodi G: Master MS and his Age

Master MS and his Age

Surveying Hasper's joyously chromatic abstract paintings and works for public sitesArgentinian artist Graciela Hasper's (born 1966) brightly colored geometric abstract paintings, made over the last three decades, are a means to bring people together and to build bridges between audiences, which is precisely what she does with her large-scale public projects. This is the artist's first English-language monograph.

Surveying Hasper’s joyously chromatic abstract paintings and works for public sitesArgentinian artist Graciela Hasper’s (born 1966) brightly colored geometric abstract paintings, made over the last three decades, are a means to bring people together and to build bridges between audiences, which is precisely what she does with her large-scale public projects. This is the artist’s first English-language monograph.

Graciela Hasper

Material Culture of Art and Design

"Highly influential, and - as this book shows - also politically engaged, the art of the Nabis (1888-1900) lay the groundwork for the transition from impressionism to modernism in French art. This ground-breaking book is the first to address the feminine and feminist politics of domesticity in the Intimiste art of âEdouard Vuillard and the Nabis. Personal in motif and decorative in form, Francesca Berry's extensive historical research and skilled visual analysis reveal the social and political, sometimes even feminist, meanings of these artworks. Transcending the structural repression of domesticity in histories of modernist art, this book powerfully overturns residual myths of aesthetic introspection and social retreat that for too long have been attached to Nabi Synthetism"--

This ground-breaking book is the first to address the feminine and feminist politics of Intimiste art - a modernist mode of art making developed in the 1890s by Édouard Vuillard while associated with the Nabi 'brotherhood'.

Coined by contemporary critics, 'intimisme' encapsulated the shared approach of these artists to depicting intimate settings and themes. Vuillard's paintings, which are typically small, employ bold pigments and economic brushstrokes to depict female figures in tightly composed apartment interiors. Those portrayed include his mother and sister, just as wives and lovers dominate the art of other Nabis, including Maurice Denis and Pierre Bonnard.

Francesca Berry comparatively analyses the gender politics of Nabi art to reveal real differences. Through skilled visual interpretation she argues that Vuillard attempted a profound engagement with the material conditions of feminine domesticity in cooperation with his first and most sustained audience: women. He did so, the author reveals, in artworks that explore a complex range of feminine experiences such as sexual initiation, stillbirth, illicit work, and unceasing housework. The personal gender politics of Intimiste practice also are foregrounded. Vuillard's studio-bedroom afforded him access to quotidian femininity. But at what risks to his sister's privacy and to his mother's subjectivity?

Making an artistic project of feminine domesticity also meant entering the field of politics. The 1890s was the decade of state legislation and feminist demands with respect to work in the home and women's familial rights. Personal in motif and Symbolist in form, Berry's extensive historical research reveals these artworks also to have been social and political, sometimes even feminist, in meaning. Transcending the structural repression of domesticity in histories of modernist art, this book powerfully overturns residual myths of aesthetic introspection and social retreat that for too long have been attached to Nabi Symbolism.

Édouard Vuillard, the Nabis, and the Politics of Domesticity

Routledge Studies in Sustainability

This book concerns the urgency of thinking and acting in response to climate change through art and education. Events of Art and Education in Post-climate Times will be helpful for students studying art, education, environment and sustainability, and climate change. It will also interest researchers, practicing artists and teachers.

Events of Art and Education in Post-climate Times

Matters of the Image introduces a new framework for thinking about digital images.

Matters of the Image introduces a new framework for thinking about digital images.

Designing Digital Images with Materiality, Energy, and Living Matter

A Portrait of John Singer Sargent

Beyond Beauty

Innovation in Screenprinting

Brand X Editions

A lavishly illustrated volume is the authoritative biography of a consummate self-portraitist and a riveting depiction of a paradoxical personality.

Lucas Samaras was one of the great avant-garde artists of the last few decades. Renowned both for his use of fabrics and for his deployment of everyday objects in his installations, he was perhaps best known for his work in photography, where he frequently took himself as a subject. This lavishly illustrated volume is the authoritative biography of a consummate self-portraitist and a riveting depiction of a paradoxical personality: of an artist whose work in the 1960s and ’70s “prefigured the vindicated narcissism of the selfie era”, but who also showed every sign of being “a quiet and agoraphobic maverick at war with the mindset of calculated sociability”. From his sensitive evocation of Samaras’s childhood in wartime Greece through to his perceptive interpretation of the artist’s career in the United States, Michael Skafidas has produced an outstanding account of his subject’s life and work. It is also an intriguing record of his own relationship with Samaras, and a powerful meditation on the art of life-writing.

The Life and Times of Lucas Samaras

River of Becoming

Transnational Surrealism

A re-reading of the art of Robert Rauschenberg in relation to Surrealist art and thought.

The art of Robert Rauschenberg (1925-2008) is usually viewed as quite distinct from Surrealism, a movement which the artist himself displayed some hostility towards. However, Rauschenberg had a very positive reception among Surrealists, particularly across the period 1959-69. In the face of Rauschenberg’s avowals of his own ‘literalism’ and insistence on his art as ‘facts,’ this book gathers generous evidence of the poetic, metaphorical, allusive, associative and connotative dimensions of the artist's oeuvre as identified by Surrealists, and thus extrapolates new readings from Rauschenberg's key works on that basis. By viewing Rauschenberg’s art against the expansion of the cultural influence of the United States in Europe in the period after the Second World War and the increasingly politicized activities of the Surrealists in the era of the Algerian War of Independence (1954-62), Robert Rauschenberg and Surrealism shows how poetic inference of the artist’s work was turned towards political interpretation. By analysing Rauschenberg’s art in the context of Surrealism, and drawing from it new interpretations and perspectives, this volume simultaneously situates the Surrealist movement in 1960s American art criticism and history.

Art, 'Sensibility' and War

Robert Rauschenberg and Surrealism

Magdalena Suarez Frimkess

The first major biography on artist Louise Bourgeois brings the life and work of an iconic twentieth-century artist into sharp focus &nbsp; Louise Bourgeois (1911–2010) was one of the most important artists of the twentieth century. She is known for a body of work that spans sculpture, painting, and printmaking but eludes any aesthetic classification. Her life and art were so intertwined that it is often difficult to tell them apart. In her own words: “Sculpture is the body. My body is the sculpture.” &nbsp; Marie-Laure Bernadac’s biography of Bourgeois traces the career of a great artist, her training, and her influences, as it tells the story of an exceptional woman’s life. Featuring personal photographs as well as reproductions of her work, this landmark publication is the first major biography to draw on the artist’s unpublished personal archives, including diaries, correspondence, and psychoanalytic writings, as well as the many interviews she gave and the reminiscences of those who knew her. Bernadac elucidates Bourgeois’s friendships and rivalries with other major figures, including sculptor Louise Nevelson and Museum of Modern Art director Alfred H. Barr Jr. She also draws on Bourgeois’s well-known fascination with psychoanalysis to explore the deeply autobiographical nature of her artwork. This erudite and keenly insightful biography pays tribute to the talent of the artist and the complexity of the person.

The Life of Louise Bourgeois

Knife-Woman

Working between activism and performance, Pinder creates texts and diagrams exploring the interdependence of art and politicsAs the commercialization and popularity of the "Black struggle" in mainstream culture continues, artists and creatives are being challenged to reinvent and refocus their approach to activism with the explicit intention of helping people understand race dynamics. Jefferson Pinder: The Black Subversive decodes the Chicago-based artist‿s performance work and uniquely straddles the subtle boundaries of activism and drama, challenging art audiences and civilians alike. Functioning as an "instruction manual" for subversive work, the book poetically reveals the inner workings of Pinder's performative practice. Enthralled by mid-20th-century "cut-away illustrations," Pinder (born 1970) develops texts and diagrams that reveal the connection between art and politics and the inner workings of a politicized performance practice in which every artistic choice is imbued with symbolism and meaning. In addition to performance documentation and insight into the research that informs the artist‿s work, the book includes essays by scholars Carlos Sirah, Jordana Saggese and Isaiah Wooden.

Working between activism and performance, Pinder creates texts and diagrams exploring the interdependence of art and politicsAs the commercialization and popularity of the "Black struggle" in mainstream culture continues, artists and creatives are being challenged to reinvent and refocus their approach to activism with the explicit intention of helping people understand race dynamics. Jefferson Pinder: The Black Subversive decodes the Chicago-based artist’s performance work and uniquely straddles the subtle boundaries of activism and drama, challenging art audiences and civilians alike. Functioning as an "instruction manual" for subversive work, the book poetically reveals the inner workings of Pinder's performative practice. Enthralled by mid-20th-century "cut-away illustrations," Pinder (born 1970) develops texts and diagrams that reveal the connection between art and politics and the inner workings of a politicized performance practice in which every artistic choice is imbued with symbolism and meaning. In addition to performance documentation and insight into the research that informs the artist’s work, the book includes essays by scholars Carlos Sirah, Jordana Saggese and Isaiah Wooden.

Jefferson Pinder: The Black Subversive

"Akasegawa is the kind of artist who inspires everybody every time he makes a new piece of art." -Yoko OnoIn the 1970s, estranged from the institutions and practices of high art, avant-garde artist and award-winning novelist Genpei Akasegawa (1937-2014) launched an open-ended, participatory project to search the streets of Japan for strange objects which he and his collaborators labeled "hyperart," codifying them with an elaborate system of humorous nomenclature. Along with "modernologists" such as the Japanese urban anthropologist Kon Wajiro and his European contemporary, Walter Benjamin, Akasegawa is part of a lineage of modern wanderers of the cityscape. His work, which has captured the imagination of Japan, reads like a comic forerunner of the somber mixed-media writings of W.G. Sebald, and will appeal to all fans of modern literature, art, artistic/social movements and writing that combines visual images and text in the exploration of urban life. In this revised edition, Matthew Fargo's original US translation of Akasegawa's hilarious, brilliantly conceived exercise in collective observation is accompanied by reflections from noted scholars Jordan Sand and Reiko Tomii, as well as a new essay by Akasegawa scholar William Marotti and a reflection on Akasegawa's legacy as a teacher by writer, artist and composer Masayuki Qusumi, a former student of Akasegawa's.

"Akasegawa is the kind of artist who inspires everybody every time he makes a new piece of art." –Yoko OnoIn the 1970s, estranged from the institutions and practices of high art, avant-garde artist and award-winning novelist Genpei Akasegawa (1937–2014) launched an open-ended, participatory project to search the streets of Japan for strange objects which he and his collaborators labeled "hyperart," codifying them with an elaborate system of humorous nomenclature. Along with "modernologists" such as the Japanese urban anthropologist Kon Wajiro and his European contemporary, Walter Benjamin, Akasegawa is part of a lineage of modern wanderers of the cityscape. His work, which has captured the imagination of Japan, reads like a comic forerunner of the somber mixed-media writings of W.G. Sebald, and will appeal to all fans of modern literature, art, artistic/social movements and writing that combines visual images and text in the exploration of urban life. In this revised edition, Matthew Fargo's original US translation of Akasegawa's hilarious, brilliantly conceived exercise in collective observation is accompanied by reflections from noted scholars Jordan Sand and Reiko Tomii, as well as a new essay by Akasegawa scholar William Marotti and a reflection on Akasegawa's legacy as a teacher by writer, artist and composer Masayuki Qusumi, a former student of Akasegawa's.

Hyperart: Thomasson

Master MS and his Age

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