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Seminar Papers

Cooper Harry: The Cubism Seminars

The Cubism Seminars

A 300-year history of influential artist training academies in more than a dozen countries &nbsp; This ambitious volume delves into the institutional history of art academies. These academies provided practical training for artists as well as spaces for theoretical discussions and debates as they emerged across Europe and the Americas around 1600 and through their proliferation in the eighteenth and nineteenth centuries. Many were founded under official auspices, with state, ecclesiastical, or monarchical support for the teaching of “fine arts.” Others originated through private patronage or expanded beyond painting, sculpture, and architecture, competing or merging with trade schools. Complex models for teaching art evolved around the world across an array of institutions, as the European academy model responded to differing regional conditions, including colonial contexts. &nbsp; Seventeen essays from leading and emerging scholars examine academies from Brazil, Colombia, Italy, France, Germany, Mexico, Turkey, the United States, and beyond. In examining academies of art both within specific political and historical moments and across transnational boundaries, the authors ask nuanced questions about the institutions’ goals and rules around membership, addressing issues of race, class, and gender. The picture of art academies that emerges is one of malleable institutions that wrote, reformed, and adapted policies according to local needs. &nbsp; Published by the National Gallery of Art, Center for Advanced Study in the Visual Arts/Distributed by Yale University Press

Academies of Art in Europe and the Americas, 1600-1900

Illustrated essays that broaden our understanding of modernism by centering Black artists and experiences, with a contribution featuring the work of Venice Biennale Golden Lion winner Simone Leigh

Illustrated essays that broaden our understanding of modernism by centering Black artists and experiences, with a contribution featuring the work of Venice Biennale Golden Lion winner Simone Leigh

Black Modernisms in the Transatlantic World

“In the best modernist tradition, [Deschenes] pushes against the basic terms by which photography is conventionally defined: instantaneity, veracity, fixity, or reproducibility.” — curator and critic Matthew WitkovskyDeschenes uses durational photogram exposure to create unique, shifting surfaces that frequently function as sculptural or architectural, rather than photographic, objects. In her recent work, Deschenes exposes photographic paper to the night sky, develops it, and fixes the photogram with silver toner, creating misty silver surfaces brindled with slight changes in hue that are affected either by exposure to ambient light or the hand-application of the toner itself. Some of these photograms remain unframed and oxidize over time, further problematizing the role of the photograph as fixed image on surface. Instead, purged of representational content, the photograph, in Deschenes’s practice, functions as an object that records how it has been, and continues to be, acted upon.Deschenes’ work is held in the permanent collections of Centre Pompidou, Paris; San Francisco Museum of Modern Art; Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; Museum of Modern Art, New York; Metropolitan Museum of Art, New York; Walker Art Center, Minneapolis; Art Institute of Chicago; ICA/Boston; Pinault Collection, Paris; Montreal Museum of Fine Arts; Milwaukee Art Museum; Princeton University Art Museum; the Hirshhorn Museum and Sculpture Garden, Washington, D.C.

Liz Deschenes

A Cultural History

The Italian Renaissance

An Artist in Changing Seasons

Constable's Year

Rethinking Art's Histories

Psychoanalysis, Politics and the Art of French Feminism

Counterpractice

A collaboration between Jess T. Dugan (photographer of To Survive On This Shore) and curator Charlotte Cotton, Love Pictures centers around conversations about themes informing Dugan’s practice, including gender and identity, family and politics, writing and language, relationships and community, the book as object, and the dynamics of the exhibition space. These initial dialogues then prompted subsequent conversations with others in Dugan’s and Cotton’s respective communities: friends, colleagues, mentors, and subjects of Dugan’s work—including Dawoud Bey, Kelli Connell, Dorothy Moss, and Catherine Opie, among others. Transcriptions of these intimate and in-depth exchanges are woven with the first comprehensive survey of Dugan’s work in book form. Dugan's work is in the permanent collections of over sixty museums, including the Denver Art Museum, Getty Research Institute, Harvard Art Museums, International Center of Photography, Leslie/Lohman Museum of Gay and Lesbian Art, Minneapolis Institute of Art, Museum of Fine Arts Boston, Museum of Fine Arts Houston, Nelson-Atkins Museum of Art, National Gallery of Art, and San Francisco Museum of Modern Art.

Jess T. Dugan and Charlotte Cotton: Love Pictures

Collected Texts

J Walking Through the Alphabet

Bollingen Series

Bollingen Recollections

The Collected Essays of Erich Neumann, Volume 1

Art and the Creative Unconscious

Kurdish Studies

"This book focuses on the cultural and intellectual activities of Kurdish migrant women through artistic and aesthetic forms of production in Belgium, France, Germany, Sweden and the UK. Using in-depth interviews with over 40 Kurdish women artists, Ozlem Galip examines how artistic, literary and cultural productions, incorporating the fields of film, theatre and music, are articulated within the structures of nation states, leading to the interrogation of the impact of western and local knowledge, patriarchy, the nation-state and globalisation. Galip also analyses how European policies affect the development of cultural engagement of Kurdish migrant women, and how such engagements help these women to integrate into European society"--

Intellectual and Cultural Production in Europe

Art, Gender and Migration in the Kurdish Diaspora

A comprehensive presentation of the Yale University Art Gallery's collection of Italian paintings from the thirteenth to the fifteenth century &nbsp; The collection of Italian paintings at the Yale University Art Gallery is one of the largest and richest in the world. The first of four volumes on the collection, this sumptuously illustrated book features over seventy-five works dating from 1230 to 1420 by artists such as Taddeo Gaddi, Andrea di Cione (better known as Orcagna), Lippo Memmi, Pietro and Ambrogio Lorenzetti, and Lorenzo Monaco. In addition to discussions of each painting's meaning, function, and significance, entries provide published references, provenance, full technical notes, and detailed conservation histories. An introduction by Laurence Kanter chronicles the history of the collection, from the James Jackson Jarves Collection that was assembled in the nineteenth century-the earliest formed collection of Italian paintings in any American museum-to more recent gifts by Louis and Hannah Rabinowitz and Richard Feigen. While many of the works are from Florence and Siena, the volume also includes examples from Bologna, Rimini, Venice, and more. Through its wide-ranging holdings, the Gallery's collection provides a remarkable sense of the diverse visual culture of the time. &nbsp; Distributed for the Yale University Art Gallery

Volume 1: 1230-1420

Italian Paintings at the Yale University Art Gallery

Anthem Modern and Contemporary Art of the Arab World, Iran and Turkey

Resisting from Morocco's Margins explores the socio-political context in which Ahmed Amrani's oil-on-paper painting Protesta (1969) was made, specifically, the Rif Revolts of the late 1950s.

Ahmed Amrani's Protesta, 1969

Resisting from Morocco's Margins

Material Culture of Art and Design

A material intervention into Australian art histories, examining overlooked objects that unsettle definitions of nationhood and identity.

Making Material Histories

The Australian Object

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

The Cubism Seminars

Weitere Titel der Reihe: Seminar Papers

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