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<div><div>This book reveals the rich tapestry of sacred art around Mexico and southwest USA (New Spain)&nbsp;from the sixteenth to the nineteenth centuries.</div>
</div>

Hernández M: Saints & Santos

Saints & Santos

Picturing the Holy in New Spain

<div>Foreword Diego Prieto Hernández, General Director, Instituto Nacional de Antropología e Historia, MéxicoDirector's Preface and Acknowledgments Mark A. WhiteCurator's Acknowledgments Cristina Cruz GonzálezIntroduction: Picturing the Holy in New Spain Cristina Cruz GonzálezSan Hipólito and the Sacred Origins of Mexico City in an Eighteenth-Century Viceregal Painting James M. CórdovaCatholic Religious Orders and the Promotion of Saints in New Spain Gauvin Alexander BaileyOn the Matter of Saints: Relics and Reliquaries Gabriela Sánchez ReyesFriar Sebastián de Aparicio, A Saint for Puebla de los Ángeles Montserrat A. Báez HernándezSanctity on the Border: Sor María de Ágreda in New Spain Anna M. NogarEl origen del arte entre nosotros: Colonial Religious Painting and the Formation of a (New) Mexican Art Historical Canon Ray Hernández-DuránEpilogue: The Cathedral Discovery of 2022 Arturo Balandrano Campos&nbsp;CATALOGUE Notes to the Catalogue Lenders to the Exhibition Contributors Works Cited</div>

world of art

Origins, Practice, Reception

Impressionism

Interdisciplinary and provocative study between an archaeologist and an artist discussing the disciplines' principles, while providing ways to rethink archaeology, the visual arts and the two subjects' shared themes.

Excavation and Contemporary Painting

Disrupting Archaeology and Art

T&T Clark Studies in English Theology

Exploring Fuller’s Soteriology in Its Historical Context

Andrew Fuller and the Search for a Faith Worthy of All Acceptation

The first study of creative and cultural afterlives of Gulliver's Travels produced over the past 3 centuries that covers work in the form of illustrated books, comics, graphic novels, films, animations, poetry, plays and pantomimes and much more.

300 Years of Transmedia Adaptation

Gulliver’s Afterlives

How a lifelong engagement with experimental art informed the brilliant Czech-Brazilian philosopher Vilém Flusser’s early vision of a world dominated by glowing screens. Predicting the importance of technology and images in the twenty-first century as early as the 1970s, Vilém Flusser warned, “the basic structure of our thinking is about to experience a mutation.” The bewitching images and screens that surround us could lead toward a centrally programmed, totalitarian society—or another, better one characterized by dialogue and collaboration among humans and new forms of intelligence. In this book on the idiosyncratic and prescient Czech-Brazilian philosopher, art historian and critic Martha Schwendener explores the profound effect of art on Flusser’s thought. The Society of the Screen reveals how Flusser’s lifelong engagement with experimental practices—from abstract painting and concrete poetry in Brazil to video, cybernetics, and photography in Europe and the United States—as well as his extensive involvement with the São Paulo Biennial informed his belief that we were moving from “history”—a civilization informed by linear writing—into “post-history,” dominated by technical images. The book delves deeply into how Flusser’s ideas evolved, particularly in correspondence and collaboration with artists like Mira Schendel, Fred Forest, Wen-Ying Tsai, Harun Farocki, Louis Bec, and Karl Gerstner.

How a lifelong engagement with experimental art informed the brilliant Czech-Brazilian philosopher Vilém Flusser’s early vision of a world dominated by glowing screens. Predicting the importance of technology and images in the twenty-first century as early as the 1970s, Vilém Flusser warned, “the basic structure of our thinking is about to experience a mutation.” The bewitching images and screens that surround us could lead toward a centrally programmed, totalitarian society—or another, better one characterized by dialogue and collaboration among humans and new forms of intelligence. In this book on the idiosyncratic and prescient Czech-Brazilian philosopher, art historian and critic Martha Schwendener explores the profound effect of art on Flusser’s thought. The Society of the Screen reveals how Flusser’s lifelong engagement with experimental practices—from abstract painting and concrete poetry in Brazil to video, cybernetics, and photography in Europe and the United States—as well as his extensive involvement with the São Paulo Biennial informed his belief that we were moving from “history”—a civilization informed by linear writing—into “post-history,” dominated by technical images. The book delves deeply into how Flusser’s ideas evolved, particularly in correspondence and collaboration with artists like Mira Schendel, Fred Forest, Wen-Ying Tsai, Harun Farocki, Louis Bec, and Karl Gerstner.

Vilém Flusser’s Radical Prescience

The Society of the Screen

Political Struggle and Activist Art in the Uk, 1960-Present

Grassroots Artmaking

October Files

How contemporary artist Glenn Ligon’s expansive body of work mines American history and literature to ask critical questions about modern culture. OCTOBER Files: Glenn Ligon (b. 1960) presents the first compilation of critical discourse on the multimedia work of one of the most influential American artists of the late twentieth and early twenty-first centuries. Often citing or annotating past literary (e.g., James Baldwin), artistic (e.g., Andy Warhol), and musical (e.g., Steve Reich) interventions, Ligon’s practice imaginatively explores the contradictions of speech, vision, authorship, identity, blackness and belonging in works that are at once historically resonant and materially sensuous. Spanning Ligon’s emergence in the postmodern multicultural milieu of New York in the late 1980s and early ‘90s, his starring turns at Documenta, the Venice Biennale, and other international exhibitions of the 2000–10s, and his formative impact on both new and canonical art histories, this volume provides a comprehensive accounting of the questions central to his work in painting, sculpture, video, installation, and print. With texts by writers from Wayne Koestenbaum to Rizvana Bradley, this File not only plumbs the depths of Ligon’s oeuvre, but also models the various approaches to critical writing that have defined art and culture of the past 30 years.

Glenn Ligon

Said in Stone

Edmonia Lewis

The St William Window at York Minster

Men-at-Arms

Seleucid Armies 312–63 BC

Through a series of newly-commissioned conversations by renowned artists, writers, and scholars, in produced in collaboration with the Georgia O’Keeffe Museum in Santa Fe, In New Light offers new entry points into the iconic American modernist. An extremely well-known painter and cultural figure, O’Keeffe’s persona and biography have remained as much a part of her story as her innovations within and contributions to modernist painting. What are the questions that need to be asked (and critiques to be raised and considered) about her work and legacy today?
 Included is a fully illustrated summary of O’Keeffe’s work — from very early pieces to her latest paintings, with both significant masterworks as well as less-known pieces. Photographs of the artist, her residence in Abiquiú, and other objects and ephemera in the Museum’s collection appear throughout this chronological plate section.
 In addition to the O’Keeffe Museum, the artist’s work is held in countless major public collections, including the Amon Carter Museum of American Art (Dallas),&nbsp;Art Institute of Chicago, Brooklyn Museum, Cleveland Museum of Art, Milwaukee Art Museum,&nbsp;National Gallery of Art (Washington), and The White House (Washington, DC).

Georgia O'Keeffe: In New Light

Saints & Santos

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