A visually rich survey of two hundred years of Alabama fine arts and artists
Alabama artists have been an integral part of the story of the state, reflecting a wide-ranging and multihued sense of place through images of the land and its people. Quilts, pottery, visionary paintings, sculpture, photography, folk art, and abstract art have all contributed to diverse visions of Alabama’s culture and environment. The works of art included in this volume have all emerged from a distinctive milieu that has nourished the creation of powerful visual expressions, statements that are both universal and indigenous.
Published to coincide with the state’s bicentennial, Alabama Creates: 200 Years of Art and Artists features ninety-four of Alabama’s most accomplished, noteworthy, and influential practitioners of the fine arts from 1819 to the present. The book highlights a broad spectrum of artists who worked in the state, from its early days to its current and contemporary scene, exhibiting the full scope and breadth of Alabama art.
This retrospective volume features biographical sketches and representative examples of each artist’s most masterful works. Alabamians like Gay Burke, William Christenberry, Roger Brown, Thornton Dial, Frank Fleming, the Gee’s Bend Quilters, Lonnie Holley, Dale Kennington, Charlie Lucas, Kerry James Marshall, David Parrish, and Bill Traylor are compared and considered with other nationally significant artists.
Alabama Creates is divided into four historical periods, each spanning roughly fifty years and introduced by editor Elliot A. Knight. Knight contextualizes each era with information about the development of Alabama art museums and institutions and the evolution of college and university art departments. The book also contains an overview of the state’s artistic heritage by Gail C. Andrews, director emerita of the Birmingham Museum of Art. Alabama Creates conveys in a sweeping and captivating way the depth of talent, the range of creativity, and the lasting contributions these artists have made to Alabama’s extraordinarily rich visual and artistic heritage.
A discussion of modern and contemporary artworks that challenge traditional representations of nonhuman animals and expose human viewers to animal otherness.
This book argues that the individuated and discrete human self in possession of consciousness, rationality, empathy, a voice, and a face, is open to challenge by nonhuman capacities such as distributed cognition, gender ambiguity, metamorphosis, mimicry, and avian speech. In traditional philosophy, animals represent all that is lacking in humankind. However, Animals and Artists argues that just because humans frame “the animal” as a negative term does not mean that animals have no meaning in themselves. Rather animals, in their very unknowability, mark the limits of human thinking.
By combining art analysis with poststructuralist, posthumanist, and animal studies theories, Atkinson decenters the human and establishes a new position that embraces difference. Amid our current ecological crisis, Animals and Artists brings readers into solidarity with animal species, among them spiders, silkworms, bees, parrots, and octopuses. The book raises empathy for other life forms, drawing attention to the shared vulnerabilities of human and nonhuman animals, and in so doing underlines the power of art to bring about social change.
Art and Social Movements offers a comparative, cross-border analysis of the role of visual artists in three social movements from the late 1960s through the early 1990s: the 1968 student movement and related activist art collectives in Mexico City, a Zapotec indigenous struggle in Oaxaca, and the Chicano movement in California. Based on extensive archival research and interviews, Edward J. McCaughan explores how artists helped to shape the identities and visions of a generation of Mexican and Chicano activists by creating new visual discourses.
McCaughan argues that the social power of activist artists emanates from their ability to provoke people to see, think, and act in innovative ways. Artists, he claims, help to create visual languages and spaces through which activists can imagine and perform new collective identities and forms of meaningful citizenship. The artists' work that he discusses remains vital today—in movements demanding fuller democratic rights and social justice for working people, women, ethnic communities, immigrants, and sexual minorities throughout Mexico and the United States. Integrating insights from scholarship on the cultural politics of representation with structural analyses of specific historical contexts, McCaughan expands our understanding of social movements.
Art, Culture, and Media Under the Third Reich explores the ways in which the Nazis used art and media to portray their country as the champion of Kultur and civilization. Rather than focusing strictly on the role of the arts in state-supported propaganda, this volume contributes to Holocaust studies by revealing how multiple domains of cultural activity served to conceptually dehumanize Jews and other groups.
Contributors address nearly every facet of the arts and mass media under the Third Reich—efforts to define degenerate music and art; the promotion of race hatred through film and public assemblies; views of the racially ideal garden and landscape; race as portrayed in popular literature; the reception of art and culture abroad; the treatment of exiled artists; and issues of territory, conquest, and appeasement. Familiar subjects such as the Munich Accord, Nuremberg Party Rally Grounds, and Lebensraum (Living Space) are considered from a new perspective. Anyone studying the history of Nazi Germany or the role of the arts in nationalist projects will benefit from this book.
Richard A. Etlin
Karen A. Fiss
Paul B. Jaskot
Robert Jan van Pelt
Joachim Wolschke-Bulmahn and Gert Gröning
In the 1960s and early 1970s, Chicago witnessed a remarkable flourishing of visual arts associated with the Black Arts Movement. From the painting of murals as a way to reclaim public space and the establishment of independent community art centers to the work of the AFRICOBRA collective and Black filmmakers, artists on Chicago's South and West Sides built a vision of art as service to the people. In Art for People's Sake Rebecca Zorach traces the little-told story of the visual arts of the Black Arts Movement in Chicago, showing how artistic innovations responded to decades of racist urban planning that left Black neighborhoods sites of economic depression, infrastructural decay, and violence. Working with community leaders, children, activists, gang members, and everyday people, artists developed a way of using art to help empower and represent themselves. Showcasing the depth and sophistication of the visual arts in Chicago at this time, Zorach demonstrates the crucial role of aesthetics and artistic practice in the mobilization of Black radical politics during the Black Power era.
Art Is Everything: A Novel
Yxta Maya Murray Northwestern University Press, 2021 Library of Congress PS3563.U832A89 2021 | Dewey Decimal 813.54
In her funny, idiosyncratic, and propulsive new novel, Art Is Everything, Yxta Maya Murray offers us a portrait of a Chicana artist as a woman on the margins. L.A. native Amanda Ruiz is a successful performance artist who is madly in love with her girlfriend, a wealthy and pragmatic actuary named Xōchitl. Everything seems under control: Amanda’s grumpy father is living peacefully in Koreatown; Amanda is about to enjoy a residency at the Guggenheim Museum in New York and, once she gets her NEA, she’s going to film a groundbreaking autocritical documentary in Mexico.
But then everything starts to fall apart when Xōchitl’s biological clock begins beeping, Amanda’s father dies, and she endures a sexual assault. What happens to an artist when her emotional support vanishes along with her feelings of safety and her finances? Written as a series of web posts, Instagram essays, Snapchat freakouts, rejected Yelp reviews, Facebook screeds, and SmugMug streams-of-consciousness that merge volcanic confession with eagle-eyed art criticism, Art Is Everything shows us the painful but joyous development of a mid-career artist whose world implodes just as she has a breakthrough.
In Art, Space, Ecology, internationally renowned curator and critic John K. Grande interviews twenty major contemporary artists whose works engage with the natural environment. Whether their medium is sculpture, nature interventions, performance, body art, or installation, these discussions, complemented by eighty stunning photographs, reveal the artists’ diverse backgrounds and methods, expressions and realizations.Ultimately, the natural world serves as a canvas to explore the intersections of art, space, and the environment, thereby raising questions about our relationship with landscape itself. The essence of the art form is a dynamic interactivity, and the dialogues between Grande and the artists mirror the encounter of object and environment, artist and audience, society and nature. This work is rounded out with an engaging introduction by writer and curator Edward Lucie-Smith, who sets the stage for some of the most insightful and compelling discussions on art to be found.
What was the place of the artist in a new society? How would he thrive where monarchy, aristocracy, and an established church—those traditional patrons of painting, sculpture, and architecture—were repudiated so vigorously? Neil Harris examines the relationships between American cultural values and American society during the formative years of American art and explores how conceptions of the artist's social role changed during those years.
Norman Rockwell and Andy Warhol, J. C. Leyendecker and Georgia O'Keeffe, the Metropolitan Museum of Art and Pepsi-Cola, the avant garde and the Famous Artists Schools, Inc.: these are some of the unexpected pairings encountered in Artists, Advertising, and the Borders of Art. In the first interdisciplinary study of the imagery and practices of commercial artists, Michele H. Bogart explores, in unprecedented detail, the world of commercial art—its illustrators, publishers, art directors, photographers, and painters. She maps out the long, permeable border between art and commerce and expands our picture of artistic culture in the twentieth century.
From the turn of the century through the 1950s, the explosive growth of popular magazines and national advertising offered artists new sources of income and new opportunities for reaching huge audiences. Bogart shows how, at the same time, this change in the marketplace also forced a rethinking of the purpose of the artistic enterprise itself. She examines how illustrators such as Howard Pyle, Charles Dana Gibson, and Norman Rockwell claimed their identities as artists within a market-oriented framework. She looks at billboard production and the growing schism between "art" posters and billboard advertisements; at the new roles of the art director; at the emergence of photography as the dominant advertising medium; and at the success of painters in producing "fine art" for advertising during the 1930s and 1940s.
Sixty years ago, at the height of World War II, an extraordinary series of gatherings took place at Mount Holyoke College in western Massachusetts. During the summers of 1942–1944, leading Europeanï¬gures in the arts and sciences met at the college with their American counterparts for urgent conversations about the future of human civilization in a precarious world.
Two Sorbonne professors, the distinguished medievalist Gustave Cohen and the existentialist philosopher Jean Wahl, organized these "Pontigny" sessions, named after an abbey in Burgundy where similar symposia had been held in the decades before the war. Among the participants—many of whom were Jewish or had Jewish backgrounds—were the philosophers Hannah Arendt and Rachel Bespaloff, the poets Marianne Moore and Wallace Stevens, the anthropologist Claude Lévi-Strauss and the linguist Roman Jakobson, and the painters Marc Chagall and Robert Motherwell.
In this collection of original essays, Stanley Cavell and Jacques Derrida lead an international group of scholars—including Jed Perl, Mary Ann Caws, Jeffrey Mehlman, and Elisabeth Young-Bruehl—in assessing the lasting impact and contemporary signiï¬cance of Pontigny-en- Amérique. Rachel Bespaloff, a tragicï¬gure who wrote a major work on the Iliad, is restored to her rightful place beside Arendt and Simone Weil. Anyone interested in the "intellectual resistance" of Francophone intellectuals and artists, and the inspiring support from such Americanï¬gures as Stevens and Moore, will want to read this pioneering work of scholarship and historical re-creation.
Few artists have ever been so beloved—or so controversial among art critics—as Andrew Wyeth. The groundbreaking book Artists of Wyeth Country presents an unauthorized and unbiased biographical portrait of Wyeth, based on interviews with family, friends, neighbors—even actress Eva Marie Saint. Journalist W. Barksdale Maynard shines new light on the reclusive artist, emphasizing Wyeth’s artistic debt to Howard Pyle as well as his surprising interest in surrealism. The book is filled with brand-new information and fresh interpretations.
Artists of Wyeth Country also comprises the first-ever guidebook to the artistic world of Chadds Ford, Pennsylvania, center of the Brandywine Tradition begun by Howard Pyle. Six in-depth tours for walking or driving allow the reader to stand exactly where N. C. and Andrew Wyeth stood, as has never been fully possible before.
As Maynard explains, Andrew Wyeth’s artistic process was influenced by Henry David Thoreau’s nature-worship and by his habit of walking daily. Newly commissioned maps, rare aerial photographs, as well as glorious full-color images and artworks of the landscape (many never reproduced before) illustrate the text.
A fascinating exploration of the world of Andrew Wyeth, Artists of Wyeth Country is sure to become an essential new source for those who love American art as well as for admirers of the scenic landscapes of the Mid-Atlantic, of which the Brandywine Valley is an exceptional example. As a rare, unauthorized biography of Andrew Wyeth, it opens the door for an entirely new understanding of the American master.
The term Neo-Dada surfaced in New York in the late 1950s and was used to characterize young artists like Robert Rauschenberg and Jasper Johns whose art appeared at odds with the serious emotional and painterly interests of the then-dominant movement, Abstract Expressionism. Neo-Dada quickly became the word of choice in the early 1960s to designate experimental art, including assemblage, performance, Pop art, and nascent forms of minimal and conceptual art.
An Audience of Artists turns this time line for the postwar New York art world on its head, presenting a new pedigree for these artistic movements. Drawing on an array of previously unpublished material, Catherine A. Craft reveals that Neo-Dada, far from being a reaction to Abstract Expressionism, actually originated at the heart of that movement’s concerns about viewers, originality, and artists’ debts to the past and one another. Furthermore, she argues, the original Dada movement was not incompatible with Abstract Expressionism. In fact, Dada provided a vital historical reference for artists and critics seeking to come to terms with the radical departure from tradition that Abstract Expressionism seemed to represent. Tracing the activities of artists such as Robert Motherwell, Barnett Newman, and Jackson Pollock alongside Marcel Duchamp’s renewed embrace of Dada in the late 1940s, Craft composes a subtle exploration of the challenges facing artists trying to work in the wake of a destructive world war and the paintings, objects, writings, and installations that resulted from their efforts.
Providing the first examination of the roots of the Neo-Dada phenomenon, this groundbreaking study significantly reassesses the histories of these three movements and offers new ways of understanding the broader issues related to the development of modern art.