Name: Media Archaeology
Brand: Erkki Huhtamo
Price: 34.95 USD
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Erkki Huhtamo

Media Archaeology

$34.95

This book introduces an archaeological approach to the study of media - one that sifts through the evidence to learn how media were written about, used, designed, preserved, and sometimes discarded. Edited by Erkki Huhtamo and Jussi Parikka, with contributions from internationally prominent scholars from Europe, North America, and Japan, the essays help us understand how the media that predate today’s interactive, digital forms were in their time contested, adopted and embedded in the everyday. Providing a broad overview of the many historical and theoretical facets of Media Archaeology as an emerging field, the book encourages discussion by presenting a full range of different voices. By revisiting ‘old’ or even ‘dead’ media, it provides a richer horizon for understanding ‘new’ media in their complex and often contradictory roles in contemporary society and culture.

Renée Ater

Remaking Race and History

$34.95

This beautifully written study focuses on the life and public sculpture of Meta Warrick Fuller (1877–1968), one of the early twentieth century’s few African American women artists. To understand Fuller’s strategy for negotiating race, history, and visual representation, Renée Ater examines the artist’s contributions to three early twentieth-century expositions: the Warwick Tableaux, a set of dioramas for the Jamestown Tercentennial Exposition (1907); Emancipation, a freestanding group for the National Emancipation Exposition (1913); and Ethiopia, the figure of a single female for the America’s Making Exposition (1921). Ater argues that Fuller’s efforts to represent black identity in art provide a window on the Progressive Era and its heated debates about race, national identity, and culture.

Howard Singerman

Art History, After Sherrie Levine

$34.95

This book examines the career of New York-based artist Sherrie Levine, whose 1981 series of photographs “after Walker Evans”—taken not from life but from Evans’s famous depression-era documents of rural Alabama—became central examples in theorizing postmodernism in the visual arts in the 1980s. For the first in-depth examination of Levine, Howard Singerman surveys a wide variety of sources, both historical and theoretical, to assess an artist whose work was understood from the outset to challenge both the label “artist” and the idea of oeuvre—and who has over the past three decades crafted a significant oeuvre of her own. Singerman addresses Levine’s work after Evans, Brancusi, Malevich, and others as an experimental art historical practice—material reenactments of the way the work of art history is always doubled in and structured by language, and of the ways the art itself resists.

Erkki Huhtamo

Media Archaeology

$95.00

This book introduces an archaeological approach to the study of media - one that sifts through the evidence to learn how media were written about, used, designed, preserved, and sometimes discarded. Edited by Erkki Huhtamo and Jussi Parikka, with contributions from internationally prominent scholars from Europe, North America, and Japan, the essays help us understand how the media that predate today’s interactive, digital forms were in their time contested, adopted and embedded in the everyday. Providing a broad overview of the many historical and theoretical facets of Media Archaeology as an emerging field, the book encourages discussion by presenting a full range of different voices. By revisiting ‘old’ or even ‘dead’ media, it provides a richer horizon for understanding ‘new’ media in their complex and often contradictory roles in contemporary society and culture.

Renée Ater

Remaking Race and History

$85.00

This beautifully written study focuses on the life and public sculpture of Meta Warrick Fuller (1877–1968), one of the early twentieth century’s few African American women artists. To understand Fuller’s strategy for negotiating race, history, and visual representation, Renée Ater examines the artist’s contributions to three early twentieth-century expositions: the Warwick Tableaux, a set of dioramas for the Jamestown Tercentennial Exposition (1907); Emancipation, a freestanding group for the National Emancipation Exposition (1913); and Ethiopia, the figure of a single female for the America’s Making Exposition (1921). Ater argues that Fuller’s efforts to represent black identity in art provide a window on the Progressive Era and its heated debates about race, national identity, and culture.

Ernst van de Wetering

Rembrandt

$49.95

Rembrandt's intriguing painting technique stirred the imaginations of art lovers during his lifetime and has done so ever since. In this book, now revised, updated, and with a new foreword by the author, Rembrandt's pictorial intentions and the variety of materials and techniques he applied to create his fascinating effects are unraveled in depth. At the same time, this "archaeology" of Rembrandt's paintings yields information on many other levels and offers a view of Rembrandt's daily practice and artistic considerations while simultaneously providing a more dimensional image of the artist.

Copub: Amsterdam University Press

Mark Klett, with Michael Lundgren

After the Ruins, 1906 and 2006

$34.95

How exactly has San Francisco’s urban landscape changed in the hundred years since the earthquake and cataclysmic firestorms that destroyed three-quarters of the city in 1906? For this provocative rephotography project, bringing past and present into dynamic juxtaposition, renowned photographer Mark Klett has gone to the same locations pictured in forty-five compelling historic photographs taken in the days following the 1906 earthquake and fires and precisely duplicated each photograph’s vantage point. The result is an elegant and powerful comparison that challenges our preconceptions about time, history, and culture. “I think the pictures ask us to become aware of the extraordinary qualities of our own distinct moment in time. But it is a realization that a particular future is not guaranteed by the flow of time in any given direction.” So says Mark Klett discussing this multilayered project in an illuminating interview included in this lavishly produced volume, which accompanies an exhibition at The Fine Arts Museums of San Francisco.

After the Ruins, 1906 and 2006 features a vivid essay by noted environmental historian Philip Fradkin on the events surrounding and following the 1906 earthquake, which he describes as “the equivalent of an intensive, three-day bombing raid, complete with many tons of dynamite that acted as incendiary devices.” A lyrical essay by acclaimed writer Rebecca Solnit considers the meaning of ruins, resurrection, and the evolving geography and history of San Francisco.

Copub: Fine Arts Museums of San Francisco

Rudolf Arnheim

The Power of the Center

$34.95

What determines the overall organization of visual form in the works of painting, sculpture, and architecture? Artists have sometimes ventured practical rules of thumb, and mathematicians have looked for formulas that would prescribe ideal spatial relations between shapes. This companion to Rudolf Arnheim's classic, Art and Visual Perception, shows how compositional form makes sense only when it utilizes visual symbols of the life experience that makes art meaningful.

Mark di Suvero

$63.00

This beautifully illustrated book—the definitive volume on American sculptor Mark di Suvero—features more than two hundred images of his most important works, interspersed with short texts by the artist and by other writers who have inspired his art-making practice, plus a contribution by François Barré. Humanist in approach and populist in sensibility, di Suvero's sculpture is accessible, inviting, and inclusive. Praised in particular for his monumental assemblages incorporating steel and wood, di Suvero emerged as a superstar in the 1960s. He was the first living artist to show his sculpture at the Tuileries Gardens, Paris, and the first honored with three major exhibitions at Storm King Art Center. His distinctive, bold pieces can be found in museums and public collections all over the world, and he continues to be the subject of numerous exhibitions both in the United States and in Europe. Mark di Suvero: Dreambook is a celebration of his artistic oeuvre and of his long, distinguished career.

Copub: Offsite

Edited by Jonathan Fineberg

When We Were Young

$42.95

In his last and most overarching essay on the subject, Rudolf Arnheim encourages us to see the range of individuality in children's drawings and to recognize the child's creation of "significant form" as a way of bringing coherence to his or her experience of the world. This groundbreaking book brings together distinguished critics and scholars, including Rudolf Arnheim, to explore children's art and its profound but rarely documented history. The contributors address central questions of how children use art to make sense of their experience and what really constitutes visual "giftedness" in children. They also cover such topics as visual thinking, the influence of popular culture on children's drawings, giftedness versus education in children's drawings, process, and social interaction in drawing. Created to accompany an exhibition on children's drawings, When We Were Young features a stunning full-color gallery of drawings both by famous artists such as Ingres, Van Gogh, Picasso, Miró, and Klee when they were children and by extraordinary "ordinary" children. An annotated chronology, with synopses and more than a thousand scholarly notes, offers a comprehensive survey of the literature and history of child art from the thirteenth century to the present.

Essays by Rudolf Arnheim, Jonathan Fineberg, Misty S. Houston, Olga Ivashkevich, Christine Marmé Thompson, and Elizabeth Hutton Turner

Guillaume Apollinaire

The Cubist Painters

$38.95

Guillaume Apollinaire's only book on art, The Cubist Painters, was first published in 1913. This essential text in twentieth-century art presents the poet and critic's aesthetic meditations on nine painters: Pablo Picasso, Georges Braque, Jean Metzinger, Albert Gleizes, Marie Laurencin, Juan Gris, Fernand Léger, Francis Picabia, and Marcel Duchamp. As Picasso's closest friend and Marie Laurencin's lover, Apollinaire witnessed the development of Cubism firsthand. This collection of essays and reviews, written between 1905 and 1912, is a milestone in the history of art criticism, valued today as both a work of reference and a classic example of modernist creative writing.

In addition to a faithful and fluid translation of Apollinaire's text, Peter Read provides his own scholarly analysis of its importance in the history of modernism. He examines Apollinaire's art criticism, his relationship to the Cubist movement, and, more specifically, the genesis of Cubist Painters through its various revisions and proofs. Supported by all forty-five plates from the original edition, this new volume brings Apollinaire's vitality and vision to life for a new generation.

Andrew McClellan

The Art Museum from Boullee to Bilbao

$38.95

Art museums have emerged in recent decades as the most vibrant and popular of all cultural institutions. Though art museums have never been more popular, their direction and values are now being contested as never before—both in the media and in the art world itself. This engaging thematic history of the art museum from its inception in the eighteenth century to the present offers an essential framework for understanding contemporary debates as they have evolved in Europe and the United States. From the visionary museums of Boullée in the eighteenth century to the new Guggenheim in Bilbao and beyond, it explores key aspects of museum theory and practice: ideals and mission; architecture; collecting, classification, and display; the public; commercialism; and restitution and repatriation. The only single volume to give a comprehensive account of the issues critical to museums, the book also highlights the challenges they will face in the future.

Samella Lewis

African American Art and Artists

$44.95

Samella Lewis has brought African American Art and Artists fully up to date in this revised and expanded edition. The book now looks at the works and lives of artists from the eighteenth century to the present, including new work in traditional media as well as in installation art, mixed media, and digital/computer art. Mary Jane Hewitt, an author, curator, and longtime friend of Samella Lewis's, has written an introduction to the new edition. Generously and handsomely illustrated, the book continues to reveal the rich legacy of work by African American artists, whose art is now included in the permanent collections of national and international museums as well as in major private collections.

Robert L. Herbert

Seurat and the Making of La Grande Jatte

$68.95

"The miracle of La Grande Jatte is its coincidence of critical distinction and popular celebration. High, low, mass, and popular cultures meet in mutual delight, continuing to revel in the mysteries of that Parisian Sunday."from "The Park in the Museum" by Neil Harris

"Bedlam," "scandal," and "hilarity" were among the epithets used to describe the effect of what is now considered Georges Seurat's greatest work, and one of the most remarkable paintings of the nineteenth century, when it was first exhibited in Paris in 1886. A Sunday on La Grande Jatte1884, an extensive landscape peopled with over forty figures, took the artist almost two years to complete. This sumptuous book, created to accompany a major exhibition at the Art Institute of Chicago, provides a fascinating, in-depth examination of the gestation, execution, and influence of Seurat's masterpiece.

La Grande Jatte has been part of the Art Institute of Chicago's collection since 1926. Bringing together all known studies and drawings directly related to the painting, this volume provides a visual and contextual survey of Seurat's working methods and aesthetic priorities, as well as the evolutionary process that culminated in his singular achievement. Included are more than fifty-five preparatory works, ranging from rich conté crayon drawings to oil sketches on small wood panels to larger studies painted on canvas. In their quantity, intricacy, and variety, these works reveal a compositional process that harks back to Old Master traditions and methods, which had been largely abandoned by Seurat's immediate predecessors, the Impressionists. The many studies attest to the artist's ambitions for his masterpiece and open up a broader context for understanding the work.

Seurat scholar Robert L. Herbert makes new revelations about the painting's relationship to its preparatory studies, stressing Seurat's empirical craftmanship. He compares La Grande Jatte to paintings by Monet, Renoir, Pissarro, and Signac and analyzes the ways that twentieth-century critics, including Meyer Schapiro, T.J. Clark, and Linda Nochlin, have viewed the picture. He proposes that the enduring fascination of the famous canvas comes from Seurat's mixture of fashion and irony. Also giving new perspectives in this book, the noted cultural historian Neil Harris charts how and why La Grande Jatte attained its revered status at the Art Institute of Chicago and throughout the United States. Additionally, the exhibition's cocurators examine the painting's place in the museum's collection. Essays by Art Institute conservators show how Seurat transferred and altered figures from studies to final canvas and elucidate the exact nature of his pigments and brushwork. Color scientist Roy Berns traces the efforts to digitally recapture the original hues of Seurat's time-altered masterpiece. A landmark publication, this book provides dazzling proof of why La Grande Jatte is among the most frequently reproduced paintings in the world and why it continues to fascinate scholars and art lovers today.

Seurat and the Making of La Grande Jatte

Edited by Jack Flam with Miriam Deutch

Primitivism and Twentieth-Century Art

$44.95

This book is the first to bring together texts documenting the encounter between Western artists and writers and what has historically been called primitive art—the traditional, indigenous arts of Africa, Oceania, and North America. Beginning with the "discovery" of that art by European artists and writers early in the twentieth century, this anthology charts the evolving pictorial responses, artistic aspirations, aesthetic theories, and cultural debates that have developed from this encounter. Written by artists, literary figures, collectors, museum curators, and cultural critics, these essays—most of them never before translated or reprinted—show the dazzling range of issues elicited by the confrontation with primitive arts and cultures.

Primitivism designates not a specific movement or group of artists, but a persuasive notion crucial to twentieth-century art and modern thinking generally. Because the encounter between the West and primitive art took place at the height of Western colonialism, a number of racial and political issues come into play, either overtly or implicitly, in writings about both the art and the people who produced it. The contributions to this volume speak to each other in provocative ways, giving a unique overview of those issues.

Jack Flam provides an introduction to the book and brief outlines for each of its four sections. Also included are a coda of quotations from artists and critics from throughout the century; a chronology of events, exhibitions, and publications; an extensive bibliography; and over forty illustrations.

Susan Landauer

Elmer Bischoff

$52.95

Elmer Bischoff (1916–1991) is generally regarded as one of the leaders among the artists in the San Francisco Bay Area who, after contributing to the local emergence of Abstract Expressionism during the 1940s and 50s, shifted the terms of their spectacularly sensuous brushwork to recognizable imagery. Bill Berkson writes that if "David Park was the classicist of the founding triad of the Bay Area Figurative painters, and Richard Diebenkorn the modernist, Bischoff was the romantic." Designed to accompany a major retrospective of Bischoff's work, this superb volume is lavishly illustrated with duotones and color plates that faithfully capture the subtle variations in shade that characterize the painter's oeuvre. Berkson and Susan Landauer, both of whom knew Bischoff, provide the definitive view of the life, art, and teaching career of this important artist.

Native to the Bay Area, Bischoff studied at the University of California under the "Berkeley School" modernists Worth Ryder, Erle Loran, and Margaret Peterson. His experience during World War II profoundly affected his view of the world and his place in it. In 1946, Bischoff joined the faculty of the California School of Fine Arts where--with colleagues Edward Corbett, Richard Diebenkorn, Claire Falkenstein, David Park, Ad Reinhardt, Mark Rothko, Hassel Smith, and Clyfford Still--he found himself at the hub of avant-garde expression in the Bay Area. Throughout his career, Bischoff applied his visual intelligence and unusual personal integrity in creating a uniquely varied body of work that invites our investigation.

Having interviewed many of the artist's surviving colleagues and family members, Landauer offers valuable primary documentation on Bischoff, the Bay Area Figurative School, and the cultural history of the Northern California art scene. Her lively text is supported with insightful research into the social and political background of the period. She considers Bischoff's career in relation to the European artists who influenced him, his interactions with his local contemporaries, and his reactions to the New York art scene. A useful chronology of the artist's life, a bibliography, and documentary photographs that Landauer uncovered during her research make this volume an invaluable resource for anyone interested in the artistic vision of Elmer Bischoff.

John R. Clarke

Looking at Lovemaking

$45.95

What did sex mean to the ancient Romans? In this lavishly illustrated study, John R. Clarke investigates a rich assortment of Roman erotic art to answer this question—and along the way, he reveals a society quite different from our own. Clarke reevaluates our understanding of Roman art and society in a study informed by recent gender and cultural studies, and focusing for the first time on attitudes toward the erotic among both the Roman non-elite and women. This splendid volume is the first study of erotic art and sexuality to set these works—many newly discovered and previously unpublished—in their ancient context and the first to define the differences between modern and ancient concepts of sexuality using clear visual evidence.

Roman artists pictured a great range of human sexual activities—far beyond those mentioned in classical literature—including sex between men and women, men and men, women and women, men and boys, threesomes, foursomes, and more. Roman citizens paid artists to decorate expensive objects, such as silver and cameo glass, with scenes of lovemaking. Erotic works were created for and sold to a broad range of consumers, from the elite to the very poor, during a period spanning the first century B.C. through the mid-third century of our era. This erotic art was not hidden away, but was displayed proudly in homes as signs of wealth and luxury. In public spaces, artists often depicted outrageous sexual acrobatics to make people laugh.

Looking at Lovemaking depicts a sophisticated, pre-Christian society that placed a high value on sexual pleasure and the art that represented it. Clarke shows how this culture evolved within religious, social, and legal frameworks that were vastly different from our own and contributes an original and controversial chapter to the history of human sexuality.

Edited by Michael Doran

Conversations with Cezanne

$29.95

Michael Doran has gathered texts by contemporaries of Paul Cézanne (1839-1906)—including artists, critics, and writers—that illuminate the influential painter's philosophy of art especially in his late years. The book includes historically important essays by a dozen different authors, including Emile Bernard, Joaquim Gasquet, Maurice Denis, and Ambroise Vollard, along with selections from Cézanne's own letters.

In addition to the material included in the original French edition of the book, which has also been published in German, Italian, Spanish, and Japanese, this edition contains an introduction written especially for it by noted Cézanne scholar Richard Shiff. The book closes with Lawrence Gowing's magisterial essay, "The Logic of Organized Sensations," first published in 1977 and long out of print.

Cézanne's work, and the thinking that lay behind it, have been of inestimable importance to the artists who followed him. This gathering of writings will be of enormous interest to artists, writers, art historians—indeed to all students of modern art.

Margaret R. Miles

A Complex Delight

$85.00

Looking at painting and sculpture from the fourteenth through the eighteenth centuries, this provocative work focuses on the symbolism of the female breast to open a dazzling interpretive view of Western European history over four centuries. Margaret R. Miles finds that while in 1350 the Virgin's bare breast represented nourishment and loving care—God's provision for the Christian—by 1750, artistic representations of the breast were either erotic or medical. The breast had lost its meaning as a religious symbol. But how did the breast, and nakedness more generally, lose the ability to represent human bodies as site and symbol of religious subjectivity and commitment? To explore this phenomenon, Miles engages in a wide-ranging investigation of the social, cultural, and religious circumstances within which a religious symbol came to be thoroughly "mastered" by erotic and medical meanings. What emerges is a nuanced understanding of the location of power in early modern Western Europe, of how the lives of women changed over this period, of how art reveals and helps to construct religious meaning, and of how modern Christianity's attitude toward bodies was shaped.

Jane Livingston

The Art of Richard Diebenkorn

$60.00

Recognized as a major figure in postwar American painting, Richard Diebenkorn (1922-1993) was an artist strongly identified with California but whose work is beloved throughout the United States and the rest of the world. This catalog is the most comprehensive volume on the artist now available.

Jane Livingston's extensively researched biographical essay covers Diebenkorn's entire career and concentrates on the artist's inner life and purposes as revealed in his paintings. Ruth Fine deals primarily with the figurative aspect of Diebenkorn's work (1955-67), and John Elderfield concentrates on the Ocean Park period (1967-93). All three authors provide valuable insights based on their personal relationships with the artist and his widow, Phyllis. On both page and canvas, the reader can sense Diebenkorn's complexity and highly self-conscious working methods, as well as his formidable integrity.

The Art of Richard Diebenkorn will give readers with an interest in all phases of modernism new thoughts about the relationship between abstraction and representation. Stunningly illustrated, with 192 full-color reproductions, this book is an exhilarating testament to a distinctive American artist.

Jan Tschichold

The New Typography

$44.95

Since its initial publication in Berlin in 1928, Jan Tschichold's The New Typography has been recognized as the definitive treatise on book and graphic design in the machine age. First published in English in 1995, with an excellent introduction by Robin Kinross, this new edition includes a foreword by Rich Hendel, who considers current thinking about Tschichold's life and work.

Howard S. Becker

Art Worlds, 25th Anniversary Edition

$34.95

This classic sociological examination of art as collective action explores the cooperative network of suppliers, performers, dealers, critics, and consumers who—along with the artist—"produce" a work of art. Howard S. Becker looks at the conventions essential to this operation and, prospectively, at the extent to which art is shaped by this collective activity. The book is thoroughly illustrated and updated with a new dialogue between Becker and eminent French sociologist Alain Pessin about the extended social system in which art is created, and with a new preface in which the author talks about his own process in creating this influential work.

Rudolf Arnheim

The Genesis of a Painting

$34.95

Rudolf Arnheim explores the creative process through the sketches executed by Picasso for his mural Guernica. The drawings and paintings shown herein, as well as the photographs of the stages of the final painting, represent the complete visual record of the creative stages of a major work of art.

Michel Foucault

This Is Not a Pipe

$24.95

What does it mean to write "This is not a pipe" across a bluntly literal painting of a pipe? René Magritte's famous canvas provides the starting point for a delightful homage by French philosopher and historian Michel Foucault. Much better known for his incisive and mordant explorations of power and social exclusion, Foucault here assumes a more playful stance. By exploring the nuances and ambiguities of Magritte's visual critique of language, he finds the painter less removed than previously thought from the pioneers of modern abstraction.

Rudolf Arnheim

Visual Thinking

$29.95

For thirty-five years Visual Thinking has been the gold standard for art educators, psychologists, and general readers alike. In this seminal work, Arnheim, author of The Dynamics of Architectural Form, Film as Art, Toward a Psychology of Art, and Art and Visual Perception, asserts that all thinking (not just thinking related to art) is basically perceptual in nature, and that the ancient dichotomy between seeing and thinking, between perceiving and reasoning, is false and misleading. An indispensable tool for students and for those interested in the arts.

Amy Lyford

Surrealist Masculinities

$85.00

Surrealist Masculinities offers a fresh exploration of how surrealist visual production was shaped by constructions of gender and sexuality, particularly masculinity, in the 1920s and early 1930s. Amy Lyford builds on feminist critical approaches to surrealism, which have viewed the female body in surrealism as symptomatic of male misogyny; yet she also departs from such work by arguing that representations of an anxious, ambivalent, or perverse masculinity were integral to the movement's critique of France's "return to order" in the years following World War I. This book analyzes surrealist work in relation to the history of surrealism and investigates how surrealist artists and writers appropriated contemporary medical science, advertising, and sexology in their quest to undermine the status quo.

Rudolf Arnheim

Art and Visual Perception, Second Edition

$32.95

Since its publication fifty years ago, this work has established itself as a classic. It casts the visual process in psychological terms and describes the creative way one's eye organizes visual material according to specific psychological premises. In 1974 this book was revised and expanded, and since then it has continued to burnish Rudolf Arnheim's reputation as a groundbreaking theoretician in the fields of art and psychology.

Art and Visual Perception, Second Edition

Allan Kaprow

Essays on the Blurring of Art and Life

$32.95

Allan Kaprow's "happenings" and "environments" were the precursors to contemporary performance art, and his essays are some of the most thoughtful, provocative, and influential of his generation. His sustained inquiry into the paradoxical relationship of art to life and into the nature of meaning itself is brought into focus in this newly expanded collection of his most significant writings. A new preface and two new additional essays published in the 1990s bring this valuable collection up to date.

Dorothy Ko

Every Step a Lotus

$36.95

In Every Step a Lotus, Dorothy Ko embarks on a fascinating exploration of the practice of footbinding in China, explaining its origins, purpose, and spread before the nineteenth century. She uses women's own voices to reconstruct the inner chambers of a Chinese house where women with bound feet lived and worked. Focusing on the material aspects of footbinding and shoemaking--the tools needed, the procedures, the wealth of symbolism in the shoes, and the amazing regional variations in style--she contends that footbinding was a reasonable course of action for a woman who lived in a Confucian culture that placed the highest moral value on domesticity, motherhood, and handwork. Her absorbing, superbly detailed, and beautifully written book demonstrates that in the women's eyes, footbinding had less to do with the exotic or the sublime than with the mundane business of having to live in a woman's body in a man's world.

Footbinding was likely to have started in the tenth century among palace dancers. Ironically, it was meant not to cripple but to enhance their grace. Its meaning shifted dramatically as it became domesticated in the subsequent centuries, though the original hint of sensuality did not entirely disappear. This contradictory image of footbinding as at once degenerate and virtuous, grotesque and refined, is embodied in the key symbol for the practice--the lotus blossom, being both a Buddhist sign of piety and a poetic allusion to sensory pleasures.

Every Step a Lotus includes almost one hundred illustrations of shoes from different regions of China, material paraphernalia associated with the customs and rituals of footbinding, and historical images that contextualize the narrative. Most of the shoes, from the collection of the Bata Shoe Museum in Toronto, have not been exhibited before. Readers will come away from the book with a richer understanding of why footbinding carries such force as a symbol and why, long after its demise, it continues to exercise a powerful grip on our imaginations.

A Copublication with the Bata Shoe Museum

Matthew Spender

From a High Place

$36.95

An immigrant from a small Armenian village in eastern Turkey, Arshile Gorky (c. 1900-1948) made his way to the U.S. to become a painter in 1920. Having grown up haunted by memories of his alternately idyllic and terrifying childhood—his family fled the Turks' genocide of Armenians in 1915—he changed his name and created a new identity for himself in America. As an artist, Gorky bridged the generation of the surrealists and that of the abstract expressionists and was a very influential figure among the latter. His work was an inspiration to Willem de Kooning and Mark Rothko, among others. Matthew Spender illuminates this world as he tells the story of Gorky's life and career.

Mary D. Garrard

Artemisia Gentileschi around 1622

$50.00

Mary D. Garrard, author of the acclaimed Artemisia Gentileschi, furthers her study of the seventeenth-century artist in this groundbreaking investigation of two little-known paintings. Taking as case studies the Seville Mary Magdalene and the Burghley House Susanna and the Elders, paintings of circa 1621-22 attributed to Artemisia, Garrard examines the ways that identity, gender, and market pressures interact both in the artist's work and in the criticism and connoisseurship that have surrounded it.

Arthur C. Danto

The Body/Body Problem

$30.95

The overall subject of the essays in The Body/Body Problem is the traditional one of what our ultimate makeup is, as creatures with minds and bodies. The central thesis is that we are beings who represent—and misrepresent—actual and possible worlds. Addressing philosophical questions of mental representation, Danto presents his distinctive approach to some of the most enduring topics in philosophy. He is concerned with the nature of description, the status of the external world, action theory, the philosophy of history, and the philosophical status of psychoanalytic explanation. Representation is a central concept in philosophy, says Danto, with differences among philosophers arising in the ways they account for how representations connect to the world or to the individuals possessing them, and how they connect with one another to form systems of beliefs, feelings, and attitudes. In these essays Danto's own voice, with his arguments and speculations, provides rich philosophical pleasures that will endure, to borrow from Santayana, "under whatever sky."

Arthur C. Danto is one of the most original and multitalented philosophers writing today, a thinker whose interests traverse the boundaries of traditional understandings of philosophy. Best known for his contributions to the philosophy of art and aesthetics, Danto is also esteemed for his work in the history of philosophy, the philosophy of history, philosophical psychology, and action theory. These two volumes, each with an introduction by the author, contain essays spanning more than twenty-five years that have been selected to highlight the inseparability of philosophy and art in Danto's work. Together they present the thinking of Arthur C. Danto at his very best.

Anne Hollander

Feeding the Eye

$29.95

Since the advent of cinema, visual art has tended to be perceived as if it were in motion. Artists now create less often in fresco or carved stone and more on film and tape, on the dance stage, or in the ever changing, ever moving medium of clothes. In this remarkable collection, Anne Hollander ranges over art of the twentieth and other centuries with unusual depth of historical insight to explore these rich, diverse visual treasures and the underlying themes that connect them.

Marsha Meskimmon

We Weren't Modern Enough

$31.95

Marsha Meskimmon furnishes a fresh perspective on the art of women in the Weimar Republic and in the process reclaims the lost history of a number of artists who have not received adequate attention—not only because they were women but also because they continued to align themselves with the modes of realistic representation the Expressionists regarded as reactionary. Reconsidering the traditional definitions of German modernism and its central issues of race politics, eugenics, and the city, Meskimmon explores the structures that marginalized the work of little known artists such as Lotte Laserstein, Jeanne Mammen, Gerta Overbeck and Grete Jurgens. She shows how these women's personal and professional experiences in the 1920s and 1930s relate to the visual imagery produced at that time. She also examines representations of different female roles—prostitute, mother, housewife, the "New Woman" and "garçonne"—that attracted the attention of these artists. Situating her exploration on a strong theoretical base, she ranges deftly over mass visual culture—from film to poster art and advertising—to create a vivid portrait of women living and creating in Weimar Germany.

Patrick Marnham

Dreaming with His Eyes Open

$34.95

This engrossing biography of Diego Rivera, the brilliant Mexican artist and revolutionary, captures the explosively passionate nature that made Rivera one of the twentieth-century's most gifted and controversial painters.

Nancy T. de Grummond and Brunilde S. Ridgway, editors

From Pergamon to Sperlonga

$84.00

This volume brings together the work of leading scholars on two of the most important, yet puzzling, extant ensembles of Hellenistic Age sculpture: the Great Altar at Pergamon, with its Gigantomachy and scenes from the life of Telephos, and the Cave at Sperlonga in Italy, with its epic themes connected especially with the adventures of Odysseus. From Pergamon to Sperlonga has three aims: to update the scholarship on two important monuments of ancient art and architecture; to debate questions of iconography, authorship, and date; and to broaden the scope of discussion on these monuments beyond the boundaries of studies done in the past. In addition, the volume brings forward new ideas about how these two monuments are connected and discusses possible means by which stylistic influences were transmitted between them.

Andrew McClellan

Inventing the Louvre

$31.95

Founded in the final years of the Enlightenment, the Louvre—with the greatest collection of Old Master paintings and antique sculpture assembled under one roof—became the model for all state art museums subsequently established. Andrew McClellan chronicles the formation of this great museum from its origins in the French royal picture collections to its apotheosis during the Revolution and Napoleonic Empire. More than a narrative history, McClellan's account explores the ideological underpinnings, pedagogic aims, and aesthetic criteria of the Louvre. Drawing on new archival materials, McClellan also illuminates the art world of eighteenth-century Paris.

Brian O'Doherty

Inside the White Cube

$31.95

When these essays first appeared in Artforum in 1976, their impact was immediate. They were discussed, annotated, cited, collected, and translated—the three issues of Artforum in which they appeared have become nearly impossible to obtain. Having Brian O'Doherty's provocative essays available again is a signal event for the art world. This edition also includes "The Gallery as Gesture," a critically important piece published ten years after the others.

O'Doherty was the first to explicitly confront a particular crisis in postwar art as he sought to examine the assumptions on which the modern commercial and museum gallery was based. Concerned with the complex and sophisticated relationship between economics, social context, and aesthetics as represented in the contested space of the art gallery, he raises the question of how artists must construe their work in relation to the gallery space and system.

These essays are essential reading for anyone interested in the history and issues of postwar art in Europe and the United States. Teeming with ideas, relentless in their pursuit of contradiction and paradox, they exhibit both the understanding of the artist (Patrick Ireland) and the precision of the scholar.

With an introduction by Thomas McEvilley and a brilliantly cogent afterword by its author, Brian O'Doherty once again leads us on the perilous journey to center to the art world: Inside the White Cube.

Brunilde Sismondo Ridgway

Prayers in Stone

$68.95

The meaning of architectural sculpture is essential to our understanding of ancient Greek culture. The embellishment of buildings was common for the ancient Greeks, and often provocative. Some ornamental sculpture was placed where, when the building was finished, no mortal eye could view it. And unlike much architectural ornamentation of other cultures, Greek sculpture was often integral to the building, not just as decoration, and could not be removed without affecting the integrity of the building structure. This book is the first comprehensive treatment of the significance of Greek architectural sculpture. Brunilde Sismondo Ridgway, a world-class authority on ancient Greek sculpture, provides a highly informative tour of many dimensions of Greek public buildings—especially temples, tombs, and treasuries—in a text that is at once lucid, accessible, and authoritative.

Ridgway's pragmatism and common sense steer us tactfully and clearly through thickets of uncertainty and scholarly disagreement. She refers to a huge number of monuments, and documents her discussions with copious and up-to-date bibliographies. This book is sure to be acknowledged at once as the standard treatment of its important topic.

Dalia Judovitz

Unpacking Duchamp

$39.95

Perhaps no twentieth-century artist utilized puns and linguistic ambiguity with greater effect—and greater controversy—than Marcel Duchamp. Through a careful "unpacking" of his major works, Dalia Judovitz finds that Duchamp may well have the last laugh. She examines how he interpreted notions of mechanical reproduction in order to redefine the meaning and value of the art object, the artist, and artistic production.

Judovitz begins with Duchamp's supposed abandonment of painting and his subsequent return to material that mimics art without being readily classifiable as such. Her book questions his paradoxical renunciation of pictorial and artistic conventions while continuing to evoke and speculatively draw upon them. She offers insightful analyses of his major works including The Large Glass, Fountain and Given 1) the waterfall, 2) the illuminating gas.

Duchamp, a poser and solver of problems, occupied himself with issues of genre, gender, and representation. His puns, double entendres, and word games become poetic machines, all part of his intellectual quest for the very limits of nature, culture, and perception. Judovitz demonstrates how Duchamp's redefinition of artistic modes of production through reproduction opens up modernism to more speculative explorations, while clearing the ground for the aesthetic of appropriation central to postmodernism.

William L. Pressly

The French Revolution as Blasphemy

$68.95

William Pressly presents for the first time a close analysis of two important, neglected paintings, arguing that they are among the most extraordinary works of art devoted to the French Revolution. Johan Zoffany's Plundering the King's Cellar at Paris, August 10, 1792, and Celebrating over the Bodies of the Swiss Soldiers, both painted in about 1794, represent events that helped turn the English against the Revolution.

Pressly places both paintings in their historical context—a time of heightened anti-French hysteria—and relates them to pictorial conventions: contemporary history painting, the depiction of urban mobs in satiric and festival imagery, and Hogarth's humorous presentation of modern moral subjects, all of which Zoffany adopted and reinvented for his own purposes. Pressly relates the paintings to Zoffany's status as a German-born Catholic living in Protestant England and to Zoffany's vision of revolutionary justice and the role played by the sansculottes, women, and blacks. He also examines the religious dimension in Zoffany's paintings, showing how they broke new ground by conveying Christian themes in a radically new format.

Art historians will find Pressly's book of immense value, as will cultural historians interested in religion, gender, and race.

Howard Singerman

Art Subjects

$31.95

Nearly every artist under the age of fifty in the United States today has a Master of Fine Arts degree. Howard Singerman's thoughtful study is the first to place that degree in its proper historical framework and ideological context. Arguing that where artists are trained makes a difference in the forms and meanings they produce, he shows how the university, with its disciplined organization of knowledge and demand for language, played a critical role in the production of modernism in the visual arts. Now it is shaping what we call postmodernism: like postmodernist art, the graduate university stresses theory and research over manual skills and traditional techniques of representation.

Singerman, who holds an M.F.A. in sculpture as well as a Ph.D. in Visual and Cultural Studies, is interested in the question of the artist as a "professional" and what that word means for and about the fashioning of artists. He begins by examining the first campus-based art schools in the 1870s and goes on to consider the structuring role of women art educators and women students; the shift from the "fine arts" to the "visual arts"; the fundamental grammar of art laid down in the schoolroom; and the development of professional art training in the American university. Singerman's book reveals the ways we have conceived of art in the past hundred years and have institutionalized that conception as atelier activity, as craft, and finally as theory and performance.

Steven Henry Madoff, editor

Pop Art

$41.95

Pop Art: A Critical History chronicles one of the most controversial art movements of the century. The anthology draws from a great range of sources, from the leading art magazines and art historical journals to newspapers and news magazines such as the New York Times, Life, and Newsweek. What emerges from this rich cross-section of critical and journalistic commentary is a fascinating view of the tumultuous rise of Pop art and its establishment as a major force in contemporary art. A broad selection of articles traces the emergence of the movement itself in England and America, as seen through the eyes of the working critics of the day. The focus then narrows to present in-depth writings on the four major Pop artists: Roy Lichtenstein, Claes Oldenburg, James Rosenquist, and Andy Warhol, along with an examination of many other artists involved in the movement. From reviews of the very first shows of many of these artists to interviews with them, to news stories about their collectors and their lifestyles, Pop Art: A Critical History represents the most complete and coherent record of Pop art yet published. The book concludes with an invaluable chronology of the major '60s exhibitions by Pop artists. Among the contributors are Lawrence Alloway, John Coplans, Donald Judd, Max Kozloff, Gerald Nordland, Peter Plagens, Barbara Rose, Robert Rosenblum, John Russell, Gene Swenson, and Sidney Tillim.

Barbara Kirshenblatt-Gimblett

Destination Culture

$38.95

Destination Culture takes the reader on an eye-opening journey from ethnological artifacts to kitsch. Posing the question, "What does it mean to show?" Barbara Kirshenblatt-Gimblett explores the agency of display in a variety of settings: museums, festivals, world's fairs, historical re-creations, memorials, and tourist attractions. She talks about how objects—and people—are made to "perform" their meaning for us by the very fact of being collected and exhibited, and about how specific techniques of display, not just the things shown, convey powerful messages.

Her engaging analysis shows how museums compete with tourism in the production of "heritage." To make themselves profitable, museums are marketing themselves as tourist attractions. To make locations into destinations, tourism is staging the world as a museum of itself. Both promise to deliver heritage. Although heritage is marketed as something old, she argues that heritage is actually a new mode of cultural production that gives a second life to dying ways of life, economies, and places. The book concludes with a lively commentary on the "good taste/bad taste" debate in the ephemeral "museum of the life world," where everyone is a curator of sorts and the process of converting life into heritage begins.

Shelly Errington

The Death of Authentic Primitive Art

$34.95

In this lucid, witty, and forceful book, Shelly Errington argues that Primitive Art was invented as a new type of art object at the beginning of the twentieth century but that now, at the century's end, it has died a double but contradictory death. Authenticity and primitivism, both attacked by cultural critics, have died as concepts. At the same time, the penetration of nation-states, the tourist industry, and transnational corporations into regions that formerly produced these artifacts has severely reduced supplies of "primitive art," bringing about a second "death."

Errington argues that the construction of the primitive in the nineteenth and twentieth centuries (and the kinds of objects chosen to exemplify it) must be understood as a product of discourses of progress—from the nineteenth-century European narrative of technological progress, to the twentieth-century narrative of modernism, to the late- twentieth-century narrative of the triumph of the free market. In Part One she charts a provocative argument ranging through the worlds of museums, art theorists, mail-order catalogs, boutiques, tourism, and world events, tracing a loosely historical account of the transformations of meanings of primitive art in this century. In Part Two she explores an eclectic collection of public sites in Mexico and Indonesia—a national museum of anthropology, a cultural theme park, an airport, and a ninth-century Buddhist monument (newly refurbished)—to show how the idea of the primitive can be used in the interests of promoting nationalism and economic development.

Errington's dissection of discourses about progress and primitivism in the contemporary world is both a lively introduction to anthropological studies of art institutions and a dramatic new contribution to the growing field of cultural studies.

Lucy Lippard

Six Years

$33.95

In Six Years Lucy R. Lippard documents the chaotic network of ideas that has been labeled conceptual art. The book is arranged as an annotated chronology into which is woven a rich collection of original documents—including texts by and taped discussions among and with the artists involved and by Lippard, who has also provided a new preface for this edition. The result is a book with the character of a lively contemporary forum that offers an invaluable record of the thinking of the artists—a historical survey and essential reference book for the period.

Arthur Wesley Dow

Composition

$42.95

First published in 1899, Arthur Wesley Dow's Composition has probably influenced more Americans than any other text to think of visual form and composition in relation to artistic modernity. While Dow is known as the mentor of Georgia O'Keeffe and Max Weber, his legacy as a proponent of modern art has suffered undeserved neglect by recent artists and art historians.

In Composition Dow develops a system for teaching students to create freely constructed images on the basis of harmonic relations between lines, colors, and dark and light patterns. Greatly influenced by Japanese art, he expounds a theory of "flat" formal equilibrium as an essential component of telling pictorial creation. Generations of teachers and their public school pupils learned from Dow's orientalism and adopted basic postimpressionist principles without even knowing the term. The reappearance of Dow's practical, well-illustrated guide, enhanced by Joseph Masheck's discussion of its historical ramifications, is an important event for all concerned with the visual arts and the intellectual antecedents of American modernism.

Richard I. Cohen

Jewish Icons

$84.00

With the help of over one hundred illustrations spanning three centuries, Richard Cohen investigates the role of visual images in European Jewish history. The interaction of Jews with the visual arts takes place, as Cohen says, in a vast gallery of prints, portraits, books, synagogue architecture, ceremonial art, modern Jewish painting and sculpture, political broadsides, monuments, medals, and memorabilia. Pointing to recent scholarship that overturns the stereotype of Jews as people of the text, unconcerned with the visual, Cohen shows how the coming of the modern period expanded the relationship of Jews to the visual realm far beyond the religious context. Toward the end of the nineteenth century, the study and collecting of Jewish art became a legitimate and even passionate pursuit, and signaled the entry of Jews into the art world as painters, collectors, and dealers.

Rudolf Arnheim

The Split and the Structure

$29.95

Rudolf Arnheim's great forte is his ability to illuminate the perceptual processes that go into the making and reception of artworks—painting, sculpture, architecture, and film. Over the years, his pioneering mode of "reading" art from a unique scientific/philosophic perspective has garnered him an established and devoted audience. That audience will take pleasure in Arnheim's most recent collection of essays, one that covers a range of topics and includes titles such as "Outer Space and Inner Space," "What Is an Aesthetic Fact?," "As I Saw Children's Art," "Two Ways of Being Human," "Consciousness—an Island of Images," and "From Chaos to Wholeness."

The notion of structure is Arnheim's guide in these explorations. Most of the essays examine the nature of structure affirmatively: how it comes about, its incentives and objectives, its celebration of perfection. He is interested in how artists grope for structure to shape powerful, enlightening images, and how a scientist's search for truth is a search for structure.

Writing with enviable clarity, even when deploying complex arguments, Arnheim makes it easy and exciting to follow him as he thinks. America is not abundantly supplied with "public intellectuals" such as Rudolf Arnheim—to have his writings with us is cause for celebration.

"The word 'structure' appears for good reason in the title of this collection. . . . Structure seems to be needed as an arbiter wherever this civilization of ours is split by selfish interests and fighting for either/or decisions. The essays want to speak with the voice of reason, because they want to show how the parts require the whole."

Hugo Ball

Flight Out of Time

$31.95

Hugo Ball—poet, philosopher, novelist, cabaret performer, journalist, mystic—was a man extremely sensitive to the currents of his time and carried in their wake. In February 1916 he founded the Cabaret Voltaire in Zurich. The sound poems and performance art by Ball and the other artists who gathered there were the beginnings of Dada. Ball's extraordinary diaries, one of the most significant products of the Dada movement, are here available in English in paperback for the first time, along with the original Dada manifesto and John Elderfield's critical introduction, revised and updated for the paperback edition, and a supplementary bibliography of Dada texts that have appeared since the 1974 hardcover edition of this book.

Victor Burgin

In/Different Spaces

$33.95

Recent discussions about the culture of images have focused on issues of identity—sexual, racial, national—and the boundaries that define subjectivity. In this context Victor Burgin adopts an original critical strategy. He understands images less in traditional terms of the specific institutions that produce them, such as cinema, photography, advertising, and television, and more as hybrid mental constructs composed of fragments derived from the heterogeneous sources that together constitute the "media." Through deft analyses of a photograph by Helmut Newton, Parisian cityscapes, the space of the department store, a film by Ousmane Sembéne, and the writings of Henri Lefebvre, Andrè Breton, and Roland Barthes, Burgin develops an incisive theory of our culture of images and spectacle.

In/Different Spaces explores the construction of identities in the psychical space between perception and consciousness, drawing upon psychoanalytic theories to describe the constitution and maintenance of "self" and "us"—in imaginary spatial and temporal relations to "other" and "them"—through the all-important relay of images. For Burgin, the image is never a transparent representation of the world but rather a principal player on the stage of history.

Robert Smithson

$41.95

Since the 1979 publication of The Writings of Robert Smithson, Robert Smithson's significance as a spokesman for a generation of artists has been widely acknowledged and the importance of his thinking to contemporary artists and art critics continues to grow. In addition to a new introduction by Jack Flam, The Collected Writings includes previously unpublished essays by Smithson and gathers hard-to-find articles, interviews, and photographs. Together these provide a full picture of his wide-ranging views on art and culture.

Jack Flam, editor

Matisse on Art, Revised edition

$29.95

The major writings of Henri Matisse (1869-1954), with the exception of the letters, are collected here along with transcriptions of important interviews and broadcasts given at various stages of Matisse's career. Jack Flam provides a biography, a general introduction that addresses the development of Matisse's aesthetic values and theories, and a critical introduction for each text.

Anne Higonnet

Berthe Morisot

$31.95

Of the six Impressionist painters whose first exhibition scandalized and fascinated Paris in 1874, Berthe Morisot was the only woman. She reached a pinnacle of artistic achievement despite the restraints society placed on her sex, adroitly combining her artistic ambitions with a rewarding family life. Anne Higonnet brings fully to life an accomplished artist and her world.

Edited by Gregory Battcock

Minimal Art

$38.95

Here with a new introduction and updated bibliography, is the definitive collection of writings by and about the work of the 1960s minimalists, generously illustrated with photographs of paintings, sculpture, and performance.

A. Richard Turner

Inventing Leonardo

$33.95

As he examines the changing views of Leonardo since the sixteenth century, A. Richard Turner both gives the reader a cultural history in brief of western Europe during this period and provides a context for examining Leonardo's relevance to our own ways of perceiving and interpreting the world.

John R. Clarke

The Houses of Roman Italy, 100 B.C.- A.D. 250

$57.95

In this richly illustrated book, art historian John R. Clarke helps us see the ancient Roman house "with Roman eyes." Clarke presents a range of houses, from tenements to villas, and shows us how enduring patterns of Roman wall decoration tellingly bear the cultural, religious, and social imprints of the people who lived with them.

In case studies of seventeen excavated houses, Clarke guides us through four centuries of Roman wall painting, mosaic, and stucco decoration, from the period of the "Four Styles" (100 B.C. to A.D. 79) to the mid- third century. The First Style Samnite House shows its debt to public architecture in its clear integration of public and private spaces. The Villa of Oplontis asserts the extravagant social and cultural climate of the Second Style. Gemlike Third-Style rooms from the House of Lucretius Fronto reflect the refinement and elegance of Augustan tastes. The Vettii brothers' social climbing helps explain the overburdened Fourth-Style decoration of their famous house. And evidence of remodelling leads Clarke to conclude that the House of Jupiter and Ganymede became a gay hotel in the second century.

In his emphasis on social and spiritual dimensions, Clarke offers a contribution to Roman art and architectural history that is both original and accessible to the general reader. The book's superb photographs not only support the author's findings but help to preserve an ancient legacy that is fast succumbing to modern deterioration resulting from pollution and vandalism.

The Houses of Roman Italy, 100 B.C.- A.D. 250

Dore Ashton

The New York School

$30.95

With the emergence of Abstract Expressionism after World War II, the attention of the international art world turned from Paris to New York. Dore Ashton captures the vitality of the cultural milieu in which the New York School artists worked and argued and critiqued each other's work from the 1930s to the 1950s. Working from unsifted archives, from contemporary newspapers and books, and from extensive conversations with the men and women who participated in the rise of the New York School, Ashton provides a rich cultural and intellectual history of this period. In examining the complex sources of this important movement—from the WPA program of the 1930s and the influx of European ideas to the recognition in the 1950s of American painting on an international scale—she conveys the concerns of an extraordinary group of artists including Willem de Kooning, Jackson Pollock, Ad Reinhardt, Philip Guston, Barnett Newman, Arshile Gorky, and many others. Rare documentary photographs illustrate Ashton's classic appraisal of the New York School scene.

Anne Hollander

Seeing Through Clothes

$36.95

In this generously illustrated book, Anne Hollander examines the representation of the body and clothing in Western art, from Greek sculpture and vase painting through medieval and renaissance portraits, to contemporary films and fashion photography. First published ahead of its time, this book has become a classic.

Eva C. Keuls

The Reign of the Phallus

$41.95

At once daring and authoritative, this book offers a profusely illustrated history of sexual politics in ancient Athens.

The phallus was pictured everywhere in ancient Athens: painted on vases, sculpted in marble, held aloft in gigantic form in public processions, and shown in stage comedies. This obsession with the phallus dominated almost every aspect of public life, influencing law, myth, and customs, affecting family life, the status of women, even foreign policy.

This is the first book to draw together all the elements that made up the "reign of the phallus"—men's blatant claim to general dominance, the myths of rape and conquest of women, and the reduction of sex to a game of dominance and submission, both of women by men and of men by men.

In her elegant and lucid text Eva Keuls not only examines the ideology and practices that underlay the reign of the phallus, but also uncovers an intense counter-movement—the earliest expressions of feminism and antimilitarism.

Complementing the text are 345 reproductions of Athenian vase paintings. Some have been reproduced in a larger format and gathered in an appendix for easy reference and closer study. These revealing illustrations are a vivid demonstration that classical Athens was more sexually polarized and repressive of women than any other culture in Western history.

Craig Owens

Beyond Recognition

$36.95

Perhaps more than any other recent writer, Craig Owens explored the relations among the discourses of contemporary art, sexuality, and power. His familiarity with the New York art world and its practitioners in the 1970's and 1980's makes his writing an unparalleled guide to one of the most riveting periods of contemporary culture.

Michael Sullivan

Art and Artists of Twentieth-Century China

$100.00

This visually stunning book focuses on the rebirth of Chinese art in the twentieth century under the influence of Western art and culture. Michael Sullivan, recognized throughout the world as a leading scholar of Chinese art, vividly documents the conflicting pulls of traditional and Western values on Chinese art and provides 364 illustrations, in color and black-and-white, to show the great range of artistic expression and the historical processes that occurred within various movements. A substantial biographical index of twentieth-century Chinese artists is a valuable addition to the text.

Sullivan discusses artists and their work against China's background of oppression and relaxation, despair and hope. He expertly conveys the diverse and at times bizarre intertwining of Chinese cultural history and art during this century. Included are the intense debates between traditionalists and reformers, the creation of the first art schools, and the birth of the idea—shocking in ethnocentric China—that art is a world language that obliterates all frontiers. The scholarly traditions of classical Chinese painting, the belated discovery of Western modernism, the artistic upheaval under Communism, and China's rethinking of the very nature of art all have a place in Sullivan's fascinating history.

Michael Sullivan has known many of the major figures in China's modern art movement of the 1930s and 1940s and has also gained the confidence of younger artists who rose to prominence following the 1979 "Peking Spring." This long-awaited book—richly documented and abundantly illustrated—is a capstone to Sullivan's work and will be enthusiastically welcomed by art lovers everywhere.

Art and Artists of Twentieth-Century China

Henri Dorra

Symbolist Art Theories

$34.95

Henri Dorra, in his comprehensive new book, presents the development and the aesthetic theories of the symbolist movement in art and literature. Included are writings (many never before translated or reprinted) by artists, designers, architects, and critics, along with Dorra's learned commentary. Fifty photographs of symbolist works complement his encyclopedic coverage.

Dorra traces symbolism and its roots from artist to artist and critic to critic from the 1860s to the early twentieth century. The decorative arts and architecture are examined as well as painting and sculpture. The Arts and Crafts movement, art nouveau, the work of Eiffel in France and Sullivan in the United States are all well represented.

The close relations between symbolist poets and artists are reflected in the chapter on literary developments. Baudelaire, Rimbaud, Verlaine, and Mallarmé are here, but so, too, are writers less well-known. A section on the Post-Impressionists and the "Artists of the Soul" rounds out Dorra's rich and varied text, and his epilogue lays the groundwork for what was to follow symbolism.

Dorra beautifully integrates the different aesthetic branches of symbolism, the different media and national variations, without ever losing sight of the whole. The historical context provided makes this a particularly appealing collection for students and scholars of art history and literature, as well as for anyone interested in the evolution of symbolism.

Richard Huelsenbeck

Memoirs of a Dada Drummer

$31.95

Huelsenbeck’s memoirs bring to life the concerns—intellectual, artistic, and political—of the individuals involved in the Dada movement and document the controversies within the movement and in response to it.

Barbara Rose, editor

Art as Art

$31.95

Ad Reinhardt is probably best known for his black paintings, which aroused as much controversy as admiration in the American art world when they were first exhibited in the 1950s. Although his ideas about art and life were often at odds with those of his contemporaries, they prefigured the ascendance of minimalism. Reinhardt's interest in the Orient and in religion, his strong convictions about the value of abstraction, and his disgust with the commercialism of the art world are as fresh and valid today as they were when he first expressed them.

Richard Curt Kraus

Brushes with Power

$68.95

Chinese calligraphy has traditionally been an emblem of the ruling class and its authority. After a century of mass revolution, what is the fate of this elite art? Richard Kraus explores the relationship beween politics and the art of writing in China today to explicate the complex relationship between tradition and modernity in Chinese culture. His study draws upon a wide range of sources, from political documents, memoirs, and interviews with Chinese intellectuals to art exhibitions and television melodramas.

Mao Zedong and other Communist leaders gave calligraphy a revolutionary role, believing that their beloved art reflected the luster of authoritative words and deeds. Calligraphy was joined with new propagandistic mass media to become less a private art and more a public performance. It provided politically engaged citizens with subtle cues to changing power relationships in the People's Republic.

Claiming neither that the Communists obliterated traditional culture nor that revolution failed to relieve the burden of China's past, this study subtly examines the changing uses of tradition in a modernizing society.

Caroline A. Jones

Bay Area Figurative Art

$34.95

During the 1950s a few painters in the San Francisco Bay Area began to stage personal, dramatic defections from the prevailing style of Abstract Expressionism, creating what would come to be known as Bay Area Figurative Art. In 1949 David Park destroyed many of his nonobjective canvases and began a new style of consciously naive figuration. Soon Elmer Bischoff and Richard Diebenkorn joined Park and other painters such as Nathan Oliveira, Theophilus Brown, James Weeks, and Paul Wonner in the move away from abstraction and toward figurative subject matter. When artists such as Bruce McGaw, Manuel Neri, and Joan Brown emerged as a second generation of figurative artists, the momentum grew for a powerful new development in American painting.

The achievement of Bay Area Figurative painters and sculptors has become directly relevant to current debates regarding abstraction and representation, as well as to discourses on modernism and postmodernism. Indeed, the historical phenomenon of the movement is an important case study in the evolution of modernism in America, serving as an early example of rupture in the formalist "mainstream."

Bay Area Figurative Art 1950-1965 was written to accompany an exhibition of the same name at the San Francisco Museum of Modern Art. Based on extensive archival research and interviews, it is the first study of the movement as a whole and is the broadest and most accurate account of the careers and interactions of ten Bay Area artists who worked in this new style.

Andrew Stewart

Faces of Power

$105.00

Alexander the Great changed the face of the ancient world. During his life and after his death, his image in works of art exerted an unprecedented influence–on marbles, bronzes, ivories, frescoes, mosaics, coins, medals, even painted pottery and reliefware. Alexander's physiognomy became the most famous in history. But can we really know what meaning lies behind these images?

Andrew Stewart demonstrates that these portraits—wildly divergent in character, quality, type, provenance, date, and purpose—actually transmit not so much a likeness of Alexander as a set of carefully crafted clichés that mobilize the notion "Alexander" for diverse ends and diverse audiences. Stewart discusses the portraits as studies in power and his original interpretation of them gives unprecedented fullness and shape to the idea and image called "Alexander."

Oliver Andrews

Living Materials

$52.95

Every material has an active presence and every material is susceptible to change. The task of the sculptor is to understand the natural properties of a chosen material, to know in the process of creation how best to work with, or against, its characteristics. In this generously illustrated studio manual, sculptor Oliver Andrews takes a new approach to sculpture, focusing on how the innate assertiveness of materials affects the complex act of making a sculpture.

Jean Bony

French Gothic Architecture of the Twelfth and Thirteenth Centuries

$89.95

Gothic architecture is the most visible and striking product of medieval European civilization. Jean Bony, whose reputation as a medievalist is worldwide, presents its development as an adventure of the imagination allied with radical technical advances—the result of a continuining quest for new ways of handling space and light as well as experimenting with the mechanics of stone construction. He shows how the new architecture came unexpectedly to be invented in the Paris region around 1140 and follows its history—in the great cathedrals of northern France and dozens of other key buildings—to the end of the thirteenth century, when profound changes occurred in the whole fabric of medieval civilization. Rich illustrations, including comprehensive maps, enhance the text and themselves constitute an exceptionally valuable documenation.

Despite its evident scholarly intention, this book is not meant for specialists alone, but is conceived as a progressive infiltration into the complexities of history at work, revealing its unpredictable vitality to the uninitiated curious mind.

French Gothic Architecture of the Twelfth and Thirteenth Centuries

Joshua C. Taylor, editor

Nineteenth-Century Theories of Art

$38.95

This unique and extraordinarily rich collection of writings offers a thematic approach to understanding the various theories of art that illumined the direction of nineteenth-century artists as diverse as Tommaso Minardi and Georges Seurat. It is significant that during the nineteenth century most artists felt compelled to found their artistic practice on a consciously established premise.

Roland Penrose

Picasso

$36.95

This updated version of the celebrated biography contains a final chapter depicting the hurried creativity of Picasso's last years. A surrealist artist and organizer of a number of major exhibitions, Roland Penrose was a close friend of Picasso from 1935 until the latter's death in 1973.

Herschel B. Chipp

Theories of Modern Art

$34.95

Herschel B. Chipp's Theories of Modern Art: A Source Book By Artists and Critics is a collection of texts from letters, manifestos, notes and interviews. Sources include, as the title says, artists and critics—some expected, like van Gogh, Gauguin, Apollinaire, Mondrian, Greenberg, just to name a few—and some less so: Trotsky and Hitler, in the section on Art and Politics. The book is a wonderful resource and insight into the way artists think and work.

Peter Selz

German Expressionist Painting

$41.95

Published in 1957, German Expressionist Painting was the first comprehensive study of one of the most pivotal movements in the art of this century. When it was written, however, German Expressionism seemed like an eccentric manifestation far removed from what was then considered the mainstream of modern art. But as historians well know, each generation alters the concept of mainstream to encompass those aspects of the past which seem most relevant to the present. The impact of German Expressionism on the art and thought of later generations could never have been anticipated at the time of the original writing of this book. During the subsequent years an enormous body of scholarly research and an even larger number of popular books on German expressionist art has been printed. Numerous monographs and detailed studies on most of the artists exist now and countless exhibitions with accompanying catalogues have taken place. Much of this new research could have been incorporated in a revised edition and the bibliography certainly could have been greatly expanded to include the important writings which have been published in Germany, the United States and elsewhere since this book was originally issued. The author, however, was faced with the choice of reprinting the original text with only the most necessary alterations-such as updating the captions to indicate present locations of the paintings-or the preparation of a revised text and bibliography. Desirable as a revision appeared, present printing costs would have priced the paperback out of reach for students. It is for this reason that I decided to reissue the original text which stands on its own as a primary investigation of German Expressionist Painting.

Philip Guston

$68.95

This is the premier collection of dialogues, talks, and writings by Philip Guston (1913–1980), one of the most intellectually adventurous and poetically gifted of modern painters. Over the course of his life, Guston’s wide reading in literature and philosophy deepened his commitment to his art—from his early Abstract Expressionist paintings to his later gritty, intense figurative works. This collection, with many pieces appearing in print for the first time, lets us hear Guston’s voice—as the artist delivers a lecture on Renaissance painting, instructs students in a classroom setting, and discusses such artists and writers as Piero della Francesca, de Chirico, Picasso, Kafka, Beckett, and Gogol.

William H. Truettner

Painting Indians and Building Empires in North America, 1710–1840

$85.00

The Europeans who first settled North America were endlessly intrigued by the indigenous people they found there; even before the colonials began to record the landscape, they drew and painted Indians. This study offers a new visual perspective on westward expansion through a survey of the major Indian images painted by Euro-American artists before and after the American Revolution. William H. Truettner's accessible readings of paintings by artists such as Benjamin West, Gilbert Stuart, Charles Bird King, and George Catlin relate these images to social and political events of the time and tell us much about how North American tribes would fare as they fought to survive during the second half of the nineteenth century.

Painting Indians and Building Empires in North America, 1710–1840

Paul Klee

The Diaries of Paul Klee, 1898-1918

$33.95

Paul Klee was endowed with a rich and many-sided personality that was continually spilling over into forms of expression other than his painting and that made him one of the most extraordinary phenomena of modern European art. These abilities have left their record in the four intimate Diaries in which he faithfully recorded the events of his inner and outer life from his nineteenth to his fortieth year. Here, together with recollections of his childhood in Bern, his relations with his family and such friends as Kandinsky, Marc, Macke, and many others, his observations on nature and people, his trips to Italy and Tunisia, and his military service, the reader will find Klee's crucial experience with literature and music, as well as many of his essential ideas about his own artistic technique and the creative process.

Mary D. Garrard

Brunelleschi's Egg

$85.00

Feminist historians of science and philosophy have shown that during the Italian Renaissance, the profound shift in the concept of nature--from an organic worldview to the scientific--was assisted by the gender metaphor that defined nature as female. In this provocative and groundbreaking book, Mary D. Garrard extends this analysis to the history of art and proposes that the larger shift was both anticipated and mediated by the visual arts. In case studies of such major figures as Brunelleschi, Masaccio, Botticelli, Leonardo da Vinci, Michelangelo, Pontormo, Giorgione, and Titian, Garrard examines the changing relationship of art and nature in the Renaissance, and shows how they were cast by artists and theorists as gendered competitors in a steadily escalating rhetoric.

Philip Guston

$29.95

This is the premier collection of dialogues, talks, and writings by Philip Guston (1913–1980), one of the most intellectually adventurous and poetically gifted of modern painters. Over the course of his life, Guston’s wide reading in literature and philosophy deepened his commitment to his art—from his early Abstract Expressionist paintings to his later gritty, intense figurative works. This collection, with many pieces appearing in print for the first time, lets us hear Guston’s voice—as the artist delivers a lecture on Renaissance painting, instructs students in a classroom setting, and discusses such artists and writers as Piero della Francesca, de Chirico, Picasso, Kafka, Beckett, and Gogol.

Terri Weissman

The Realisms of Berenice Abbott

$85.00

The Realisms of Berenice Abbott provides the first in-depth consideration of the work of photographer Berenice Abbott. Though best known for her 1930s documentary images of New York City, this book examines a broad range of Abbott’s work—including portraits from the 1920s, little known and uncompleted projects from the 1930s, and experimental science photography from the 1950s. It argues that Abbott consistently relied on realism as the theoretical armature for her work, even as her understanding of that term changed over time and in relation to specific historical circumstances. But as Weissman demonstrates, Abbott’s unflinching commitment to “realist” aesthetics led her to develop a critical theory of documentary that recognizes the complexity of representation without excluding or obscuring a connection between art and engagement in the political public sphere. In telling Abbott’s story, The Realisms of Berenice Abbott reveals insights into the politics and social context of documentary production and presents a thoughtful analysis of why documentary remains a compelling artistic strategy today.

Kristine Stiles and Peter Selz

Theories and Documents of Contemporary Art

$34.95

First published in 1996, this irreplaceable resource has now been updated, revised, and expanded by Kristine Stiles to represent thirty countries and more than one hundred new artists. Stiles has added forty images and a diverse roster of artists, including many who have emerged since the 1980s, such as Julie Mehretu, Carrie Mae Weems, Damien Hirst, Shirin Neshat, Cai Guo-Qian, Olafur Eliasson, Matthew Barney, and Takashi Murakami. The writings, which as before take the form of artists' statements, interviews, and essays, make vivid each artist's aesthetic approach and capture the flavor and intent of his or her work. The internationalism evident in this revised edition reflects the growing interest in the vitality of contemporary art throughout the world from the U.S. and Europe to the Middle East, Asia, Africa, Latin America, and Australia.

Theories and Documents of Contemporary Art

Robert Motherwell

The Writings of Robert Motherwell

$38.95

Robert Motherwell (1915-1991), one of the leading American Abstract Expressionist painters, was also a theorist and exponent of the movement. His writing articulated the intent of the New York school —Jackson Pollock, Willem de Kooning, Adolph Gottlieb, Franz Kline, Arshile Gorky, and others—during a period when their work was often reviled for its departure from traditional representation. As founder of the Documents of Modern Art series (later renamed the Documents of Twentieth-Century Art), Motherwell gave modern artists a voice at a time when very few people understood their theories or work. This authoritative new edition of the artist's writings about art includes public lectures, essays, and interviews. Impeccably edited, with an informative introductory essay and rigorous annotation, it is illustrated with black-and-white images that elucidate Motherwell's writings.

Michael Sullivan

Modern Chinese Artists

$85.00

The first biographical dictionary of its kind in any Western language, this pioneering work provides short, information-packed entries for approximately 1,800 Chinese artists of the twentieth and twenty-first centuries. In recent years interest in modern Chinese art has spread across the globe. Public and private collections are being formed; courses in modern Chinese art are offered in many universities and museums. At the same time, the number of practicing artists in China and the amount of published material have greatly increased. Michael Sullivan’s pathbreaking book Art and Artists of Twentieth-Century China, published in 1996, included a biographical index of some eight hundred artists. This volume includes more than twice that number, with entries that have been revised, expanded, and brought up to date. Illustrated with portraits and photographs of more than seventy leading artists, this comprehensive, convenient reference will be an essential tool for anyone interested in the study or collection of modern Chinese art.

Henri Dorra

The Symbolism of Paul Gauguin

$85.00

In this magisterial book, Henri Dorra synthesizes more than fifty years of study to present a comprehensive examination of Paul Gauguin's symbolism. Drawing on his profound grasp of the artistic and social contexts in which Gauguin worked, Dorra provides new, complex insights into and interpretations of Gauguin's multilayered symbolism. The Symbolism of Paul Gauguin is lavishly illustrated with a major visual compendium of the artist's prodigious output. The highly readable narrative, based on a sophisticated understanding of Gauguin's oeuvre, offers a masterly interpretation of recurrent images and their interrelationships in the contemporaneous artistic and social context.

Dorra discusses Gauguin's iconography and the artist's treatments of similar themes in various media, from prepatory drawings for paintings to related ceramics and wood carvings. He traces Gauguin's meanings in literary sources from classical mythology and the Bible to late ninetheenth-century literature. He also links the form and content of the artist's work to his unusual ancestry and upbringing. As the final scholarly work by an internationally recognized expert on nineteenth-century French symbolism, this book provides a profound new perspective on Gauguin and his work.

Alexander Alberro and Patricia Norvell, editors

Recording Conceptual Art

$29.95

Recording Conceptual Art features a highly provocative series of previously unpublished interviews conducted in early 1969 with some of the most dynamic, daring, and innovative artists of the tumultuous 1960s. The nine individuals—eight artists and one art dealer—are now known as major contributors to Conceptual art. These fascinating dialogues, conducted by Patricia Norvell, provide tantalizing moments of spontaneous philosophizing and brilliant insights, as well as moments of unabashed self-importance, with highly imaginative and colorful individuals.

Joan Retallack

The Poethical Wager

$34.95

In these highly inventive essays, Joan Retallack, acclaimed poet and essayist, conveys her unique post-utopian vision as she explores the relationship between art and life in today's chaotic world. In the tradition of the essay as complex humanist exploration, she engages ideas from across history: Aristotle's definition of happiness, Epicurus's swerve into unpredictable possibility, Montaigne's essays as an instrument of self-invention, John Cage's redefinition of Silence. Within her unifying rubric of poethics, Retallack gives the reader plenty of surprises with a wonderful range of examples, situations, and texts through which she conducts her exploration. A computer glitch, a passage from Gertrude Stein's favorite detective novelist, the idea of the experimental feminine, a John Cage performance—all serve as occasions for inquiry and speculation on the way to her poethics of a "complex realism."

John R. Clarke

Art in the Lives of Ordinary Romans

$45.00

This splendidly illustrated book brings to life the ancient Romans whom modern scholarship has largely ignored: slaves, ex-slaves, foreigners, and the freeborn working poor. Though they had no access to the upper echelons of society, ordinary Romans enlivened their world with all manner of artworks. Discussing a wide range of art in the late republic and early empire—from familiar monuments to the obscure Caupona of Salvius and little-studied tomb reliefs—John R. Clarke provides a tantalizing glimpse into the lives of ordinary Roman people. Writing for a wide audience, he illuminates the dynamics of a discerning and sophisticated population, overturning much accepted wisdom about them, and opening our eyes to their astounding cultural diversity.

Clarke begins by asking: How did emperors use monumental displays to communicate their policies to ordinary people? His innovative readings demonstrate how the Ara Pacis, the columns of Trajan and of Marcus Aurelius, and the Arch of Constantine announced each dynasty's program for handling the lower classes. Clarke then considers art commissioned by the non-elites themselves—the paintings, mosaics, and reliefs that decorated their homes, shops, taverns, and tombstones. In a series of paintings from taverns and houses, for instance, he uncovers wickedly funny combinations of text and image used by ordinary Romans to poke fun at elite pretensions in art, philosophy, and poetry.

In addition to providing perceptive readings of many works of Roman art, this original and entertaining book demonstrates why historians must recognize, rather than erase, complexity and contradiction and asks new questions about class, culture, and social regulation that are highly relevant in today's global culture.

Linda M. Montano

Performance Artists Talking in the Eighties

$38.95

Performance artist Linda Montano, curious about the influence childhood experience has on adult work, invited other performance artists to consider how early events associated with sex, food, money/fame, or death/ritual resurfaced in their later work. The result is an original and compelling talking performance that documents the production of art in an important and often misunderstood community.

Among the more than 100 artists Montano interviewed from 1979 to 1989 were John Cage, Suzanne Lacy, Faith Ringgold, Dick Higgins, Annie Sprinkle, Allan Kaprow, Meredith Monk, Eric Bogosian, Adrian Piper, Karen Finley, and Kim Jones. Her discussions with them focused on the relationship between art and life, history and memory, the individual and society, and the potential for individual and social change. The interviews highlight complex issues in performance art, including the role of identity in performer-audience relationships and art as an exploration of everyday conventions rather than a demonstration of virtuosity.

Performance Artists Talking in the Eighties

Kristen Frederickson

Singular Women

$34.95

In this groundbreaking volume, contemporary art historians—all of them women—probe the dilemmas and complexities of writing about the woman artist, past and present. Singular Women proposes a new feminist investigation of the history of art by considering how a historian's theoretical approach affects the way in which research progresses and stories are told. These thirteen essays on specific artists, from the Renaissance to the present day, address their work and history to examine how each has been inserted into or left out of the history of art. The authors go beyond an analysis of the past to propose new strategies for considering the contributions of women to the visual arts, strategies that take into account the idiosyncratic, personal, and limited rhetoric that confines all writers.

Sadakichi Hartmann

$63.00

Brilliant and controversial, art critic Sadakichi Hartmann wrote copiously about American and European art and the shaping of American culture during the decades from 1890 to 1910. Jane Weaver has recovered and assembled over fifty of Hartmann's critical writings from influential, though often obscure, turn-of-the-century journals. These reviews and theoretical essays not only provide some of the earliest known criticism of important artists and photographers of the period, but also make Hartmann's fundamental—and uniquely American—definition of modernism available to students of art and cultural history. A most useful adjunct to the text is a complete bibliography of Hartmann's writings on art, as well as an annotated checklist of all the artists treated by Hartmann in this book.

Sadakichi Hartmann (1867-1944), half German, half Japanese, learned the American cast of mind and heart as a beloved young disciple of the aged Walt Whitman. Reflecting the poet's zealous vision, Hartmann's piercing commentaries on the art centers of Boston and New York offer unparalleled documentation of the years before and after 1900.

Walter S. Gibson

Pieter Bruegel and the Art of Laughter

$85.00

Pieter Bruegel (ca. 1525–1569), generally considered the greatest Flemish painter of the sixteenth century, was described in 1604 by his earliest biographer as a supremely comic artist, few of whose works failed to elicit laughter. Today, however, we approach Bruegel’s art as anything but a laughing matter. His paintings and drawings are thought to conceal profound allegories best illuminated with scholarly erudition. In this delightfully engaging book, Walter S. Gibson takes a new look at Bruegel, arguing that the artist was no erudite philosopher, but a man very much in the world, and that a significant part of his art is best appreciated in the context of humor. In his illuminating examination of the witty and amusing elements in Bruegel’s paintings, prints, and drawings in relation to the sixteenth century European culture of laughter, Gibson reminds us exactly why Bruegel was one of the most original artists of his time.

In a series of engrossing chapters, Gibson explores the function and production of laughter in the sixteenth century, examines the ways in which Bruegel exploited the comic potential of Hieronymus Bosch, and traces how the artist developed his remarkable gift for physiognomy in his work, culminating in three paintings of festive peasants he produced during the 1560s: the Wedding Dance, the Kermis, and the Wedding Banquet. Gibson also takes a detailed look at the Dulle Griet, Bruegel’s most complex evocation of Bosch.

Rudolf Arnheim

To the Rescue of Art

$29.95

Never before published essays by the widely admired psychologist of art. Arnheim spiritedly asserts art's fundamental achievements.

Rudolf Arnheim has spent a lifetime analyzing the basic psychological principles that make works of visual art meaningful, stirring, indispensable, and lasting. But recent fashionable attitudes and theories about art, he argues, are undermining the foundation of artistic achievement itself.

The essays collected in this volume are written in his familiar, careful, and solidly supported manner, but under present circumstances they amount to a call to arms. Included is a series of miniature monographs on a variety of great works of art. In other essays, Arnheim uncovers enlightening perspectives in the art of the blind, in architectural space, in caricature, and in the work of psychotics and autistic children. He also presents new scientific aspects on the psychology of art and widens our range of vision by connecting art with language, literature, and religion.

Hannah Higgins

Fluxus Experience

$36.95

In this groundbreaking work of incisive scholarship and analysis, Hannah Higgins explores the influential art movement Fluxus. Daring, disparate, contentious—Fluxus artists worked with minimal and prosaic materials now familiar in post-World War II art. Higgins describes the experience of Fluxus for viewers, even experiences resembling sensory assaults, as affirming transactions between self and world.

Fluxus began in the 1950s with artists from around the world who favored no single style or medium but displayed an inclination to experiment. Two formats are unique to Fluxus: a type of performance art called the Event, and the Fluxkit multiple, a collection of everyday objects or inexpensive printed cards collected in a box that viewers explore privately. Higgins examines these two setups to bring to life the Fluxus experience, how it works, and how and why it's important. She does so by moving out from the art itself in what she describes as a series of concentric circles: to the artists who create Fluxus, to the creative movements related to Fluxus (and critics' and curators' perceptions and reception of them), to the lessons of Fluxus art for pedagogy in general.

Although it was commonly associated with political and cultural activism in the 1960s, Fluxus struggled against being pigeonholed in these too-prescriptive and narrow terms. Higgins, the daughter of the Fluxus artists Alison Knowles and Dick Higgins, makes the most of her personal connection to the movement by sharing her firsthand experience, bringing an astounding immediacy to her writing and a palpable commitment to shedding light on what Fluxus is and why it matters.

Lewis Mumford

Mumford on Modern Art in the 1930s

$26.95

Although Lewis Mumford is widely acknowledged as the seminal American critic of architecture and urbanism in the twentieth century, he is less known for his art criticism. He began contributing to this field in the early 1920s, and his influence peaked between 1932 and 1937, when he was art critic for the New Yorker. This book, for the first time, assembles Mumford's important art criticism in a single volume. His columns bring wit and insight to bear on a range of artists, from establishment figures like Matisse and Brancusi to relatively new arrivals like Reginald Marsh and Georgia O'Keeffe. These articles provide an unusual window onto the New York art scene just as it was casting off provincialism in favor of a more international outlook. On a deeper level, the columns probe beneath the surface of modern art, revealing an alienation that Mumford believed symptomatic of a larger cultural disintegration.

Many of the themes Mumford addresses overlap with those of his more familiar architectural criticism: the guiding role of the past in stimulating creativity in the present, the increasing congestion of the modern metropolis, the alarming lack of human control over modern technology, and the pressing need to restore organic balance to everyday living. Though he was open to new movements emanating from Europe, Mumford became the chief advocate of a progressive American modernism that was both socially aware and formally inventive.

Walter Pater

The Renaissance

$41.95

The Renaissance is a strikingly original and influential collection of essays in which Walker Pater gave memorable expression to an aesthetic view of life. It has never before been published in a scholarly edition. Donald L. Hill reproduces Pater's text of 1893, with a record of all verbal variations in other editions, from the early magazine versions to the Library Edition of 1910. Mr. Hill provides a full set of critical and explanatory notes on each of Pater's essays; headnotes outlining the story of its composition, publication, and reception; and an essay on the history of the book as a whole. Students of Pater and the Aesthetic Movement in England will find this new, annotated edition indispensable.

Peter Selz

Art of Engagement

$45.00

Art of Engagement takes the first comprehensive look at the key role of California's art and artists in politics and culture since 1945. Tracing the remarkably fertile confluence of political agitation and passionately engaged art, Peter Selz leads readers on a journey that begins with the Nazi death camps and moves through the Bay Area's Free Speech Movement of 1964, the birth of Beat and hippie countercultures, the Chicano labor movement in the San Joaquin Valley, the beginning of the Black Panther Party in Oakland, and some of the most radical manifestations of the women's movement, gay liberation, Red Power, and environmental activism. It also deals with artists' responses to critical issues such as censorship and capital punishment. Selz follows California's outpouring of political art into the present with responses to September 11 and the war in Iraq. In the process, Selz considers the work of artists such as Robert Arneson, Hans Burkhardt, Jerome (Caja), Enrique Chagoya, Judy Chicago, Llyn Foulkes, Rupert García, Helen and Newton Harrison, Wally Hedrick, Suzanne Lacy, Hung Liu, Peter Saul, Miriam Schapiro, Allan Sekula, Mark di Suvero, Masami Teraoka, and Carrie Mae Weems. Abundantly illustrated and beautifully produced, Art of Engagement showcases many types of media, including photographs, found objects, drawings and prints, murals, painting, sculpture, ceramics, installations, performance art, and collage. Readers will come away from the book with a historical sense of the significant role California has played in generating political art and also how the state has stimulated politically engaged art throughout the world.

Copub: San Jose Museum of Art

Julia Bryan-Wilson

Art Workers

$34.95

During the late 1960s and early 1970s, in response to the political turbulence generated by the Vietnam War, an important group of American artists and critics sought to expand the definition of creative labor by identifying themselves as “art workers.” In the first book to examine this movement, Julia Bryan-Wilson shows how a polemical redefinition of artistic labor played a central role in minimalism, process art, feminist criticism, and conceptualism. In her close examination of four seminal figures of the period—American artists Carl Andre, Robert Morris, and Hans Haacke, and art critic Lucy Lippard—Bryan-Wilson frames an engrossing new argument around the double entendre that “art works.” She traces the divergent ways in which these four artists and writers rallied around the “art worker” identity, including participating in the Art Workers' Coalition—a short-lived organization founded in 1969 to protest the war and agitate for artists' rights—and the New York Art Strike. By connecting social art history and theories of labor, this book illuminates the artworks and protest actions that were central to this pivotal era in both American art and politics.

A Best Book of 2009, Artforum Magazine

Norma Broude

Reclaiming Female Agency

$54.95

This volume is the third in an influential series of anthologies by editors Norma Broude and Mary D. Garrard that challenge art history from a feminist perspective. Following their Feminism and Art History: Questioning the Litany (1982) and The Expanding Discourse: Feminism and Art History (1992), this new volume identifies female agency as a central theme of recent feminist scholarship. Framed by a lucid and stimulating critical introduction, twenty-three essays on artists and issues from the Renaissance to the present, written in the 1990s and after, offer a nuanced critique of the poststructuralist premises of 1980s feminist art history.

Contributors: Allison Arieff, Janis Bergman-Carton, Babette Bohn, Norma Broude, Anna C. Chave, Julie Cole, Bridget Elliott, Mary D. Garrard, Sheila ffolliott, Darcy Grimaldo Grigsby, Ruth E. Iskin, Geraldline A. Johnson, Amelia Jones, Maud Lavin, Julie Nicoletta, Carol Ockman, Erica Rand, John B. Ravenal, Lisa Saltzman, Mary D. Sheriff

Lawrence Weschler

Seeing Is Forgetting the Name of the Thing One Sees

$32.95

When this book first appeared in 1982, it introduced readers to Robert Irwin, the Los Angeles artist "who one day got hooked on his own curiosity and decided to live it." Now expanded to include six additional chapters and twenty-four pages of color plates, Seeing Is Forgetting the Name of the Thing One Sees chronicles three decades of conversation between Lawrence Weschler and light and space master Irwin. It surveys many of Irwin's site-conditioned projects—in particular the Central Gardens at the Getty Museum (the subject of an epic battle with the site's principal architect, Richard Meier) and the design that transformed an abandoned Hudson Valley factory into Dia's new Beacon campus—enhancing what many had already considered the best book ever on an artist.

Seeing Is Forgetting the Name of the Thing One Sees

Roy Ascott

Telematic Embrace

$34.95

Long before e-mail and the Internet permeated society, Roy Ascott, a pioneering British artist and theorist, coined the term "telematic art" to describe the use of online computer networks as an artistic medium. In Telematic Embrace Edward A. Shanken gathers, for the first time, an impressive compilation of more than three decades of Ascott’s philosophies on aesthetics, interactivity, and the sense of self and community in the telematic world of cyberspace. This book explores Ascott’s ideas on how networked communication has shaped behavior and consciousness within and beyond the realm of what is conventionally defined as art.

Telematics, a powerful marriage of computers and telecommunication, made technologies we now take for granted—such as e-mail and automated teller machines (ATMs)—part of our daily life, and made art a more interactive form of expression. Telematic art challenges traditional relationships between artist, artwork, and audience by allowing nonlocal audiences to influence the emergent qualities of the artwork, which consists of the ebb and flow of electronic information. These essays constitute a unique archaeology of ideas, tracing Ascott’s meditations on the formation of consciousness through the intertwined cultural histories of art and technology from the 1960s to the present.

Shanken’s introduction situates Ascott’s work within a history of ideas in art, technology, and philosophy. Given the increasing role of the Internet and the World Wide Web in the creation of commerce and community at the dawn of this new millennium, scholars, students, laypeople, policymakers, and artists will find this collection informative and thought-provoking.