Photographer (United States, 1898–1991)
Hardware Store, 316-318 Bowery, Manhattan, January 26, 1938. Gelatin silver print, 15 1/2 x 19 5/15 inches. Krannert Art Museum.
Berenice Abbott by
Berenice ABbott, a Midwesterner who first came to New York in 1918, was one of the 20th century's most important photographers and her images have come to define 1930s New York City. In 1921 she moved to Paris and worked as Man Ray's darkroom assistant. In 1929 she returned to America to document a changing New York. This deluxe hardcover edition features a showcase of over 300 black and white photographs as well as 113 variant images, drawings and period maps.
Berenice Abbott: Aperture Masters of Photography by
An innovative documentary photographer, Berenice Abbott pioneered scientific images and photographed the fast-changing landscape of her times. Abbott studied journalism for a year in Ohio before moving to New York in 1918 to study sculpture, where she met Marcel Duchamp and Man Ray. She later moved to France in the 1920s and worked for Ray in his portrait studio before setting out on her own. Her portraits captured many individuals associated with avant-garde art movements, including author James Joyce and artist Max Ernst. Moving back to New York at the end of the decade, she began her renowned Changing New York series (later published as a book in 1939), and went on to become picture editor for Science Illustrated. In this redesigned and expanded version of a classic Aperture book, Abbott's work is introduced by historian Julia Van Haaften, and includes new, image-byimage commentary and a chronology of this innovative artist's life.
The Realisms of Berenice Abbott by
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.
Glass Artist (United States, born in France 1980)
Winds. Blown and sand carved glass | 8 x 17 x 17 x inches | 2014. Ken Saunders Gallery
Visual Artist (United States, born in Latvia 1938)
Paintings and Drawings, 1964-1995 by
Catalog of an exhibition held at the Institute of Contemporary Arts, Nov. 1-Dec. 22, 1996 and at three other locations in Europe through Sept. 28, 1997.
The Prints of Vija Celmins by
Catalog of an exhibition held at the Metropolitan Museum of Art, Oct. 15-Dec. 29, 2002.
Vija Celmins by
The beautiful catalogue that accompanies the critically-acclaimed exhibition currently on view at the Metropolitan Museum Best known for her striking drawings of ocean surfaces, begun in 1968 and revisited over many years both in drawings and paintings, Vija Celmins (b. 1938) has been creating exquisitely detailed renderings of natural imagery for more than five decades. The oceans were followed by desert floors and night skies--all subjects in which vast, expansive distances are distilled into luminous, meticulous, and mesmerizing small-scale artworks. For Celmins, this obsessive "redescribing" of the world is a way to understand human consciousness in relation to lived experience. The first major publication on the artist in twenty years, this comprehensive and lavishly illustrated volume explores the full range of Celmins's work produced since the 1960s--drawings and paintings as well as sculpture and prints. Scholarly essays, a narrative chronology, and a selection of excerpts from interviews with the artist illuminate her methods and techniques; survey her early years in Los Angeles, where she was part of a circle that included James Turrell and Ken Price; and trace the development of her work after she moved to New York City and befriended figures such as Robert Gober and Richard Serra. Published in association with the San Francisco Museum of Modern Art Exhibition Schedule: San Francisco Museum of Modern Art (12/15/18-03/31/19) Art Gallery of Ontario (05/04/19-08/04/19) The Met Breuer, New York (09/24/19-01/12/20)
Photographer (United States, b. 1943)
Cohen, Alan. Robert Morris 132-1. 1989. Gelatin silver print. 18 5/16 x 22 1/4 in. Smith College Museum of Art, Northampton, MA. Artstor, https://library.artstor.org/asset/ASMITHIG_10314006780.
On European Ground by
A profound visual meditation on the trauma that scars twentieth-century Europe, Alan Cohen's On European Ground considers the battlefields of World War I, the Nazi death camps, and the Berlin Wall, and records the distance between what we remember about these places and what we can still observe in them today. By walking these sites and photographing the very ground in which their history has dissolved, Cohen opens a space for reflection on their complex gravity and legacy. Cohen's images achieve a solemn beauty even as they engage history at its most topical. Pictures of trenches and bunkers at the battlefields of Somme and Verdun explore the tension between the violence of the past and the inscrutability of its remnants. Photographs from the grounds of Dachau and Auschwitz solicit a provocative dialogue between the ordinariness of these sites today and their haunting memory. They teach us, as the New Art Examiner notes, "that the living perceptual connection to the Holocaust is vanishing." Images of the Berlin Wall show only the footprint of the barricade that once separated two hostile ideologies. They record the physical erosion and looming disappearance of the Wall while capturing its reappearance as a memorialized abstraction. Accompanying the photographs in On European Ground are essays by Sander Gilman and Jonathan Bordo, as well as an interview with Cohen by critic Roberta Smith of the New York Times. The essays present both an introduction to and aesthetic analysis of Cohen's work, while the interview discusses the intractable problems of history and memory that his photographs so uniquely capture.
The Black Trans-Atlantic Experience by Painter, Designer, Director, and Screenwriter (Mexico, 1915–2000)
La Ciudad Perdida (The Lost City). 1948. Oil on hardboard. Art Institute of Chicago.
Gunther Gerzso [exposición en la VIII Bienal de São Paulo, Brasil]. by 
The Art of Gunther Gerzso by
The man Octavio Paz called a "glacial spark" was a painter for whom intuition always had the last word. But Gunther Gerzso's work has in recent years lacked the in-depth attention it deserves, a situation meant to be righted by Risking the Abstract. Originally conceived in collaboration with the artist, and finished with the help of his widow and sons, this volume and exhibition provide a better understanding of the artist's essential role in shaping an alternative approach to Modernism in Mexico, one that bears an important relationship to Abstract Expressionism in the United States and art informel in Europe.
Gerzso en su espejo by La zona del silencio : Ricardo Martínez, Gunther Gerzso, Luis García Guerrero by Installation Artist, Painter, Sculptor (United States, b. 1973)
Superabundant Atmosphere by
Catalog of an exhibition held at Rice Gallery, Mar. 17-Apr. 17, 2005.
Global Asias by
Drawn from the collections of Jordan D. Schnitzer and His Family Foundation, Global Asias examines the cosmopolitan and the mundane, the exuberant and the somber, and the subtly subversive and enigmatic characteristics of contemporary Asian and Asian American art. Though the artists featured in the exhibition share a common Asian heritage, their backgrounds and styles differ vastly, and each artist draws on an array of motifs, techniques, and cultural motivations to construct diverse "Asias" in a modern global context. The fifteen artists represented here were born in Japan, China, Korea, Vietnam, Argentina, or the United States; all are adept at crossing borders-not only physical ones but also those in media, styles, genre, and materiality. The full recognition of works by Asian and Asian American artists, this exhibition suggests, rewrites the history of modern art as well as the history of American art, both of which turn out to be more vibrant and colorful than we knew, once we embrace such inclusivity.
Textile Designer (United States, 1927–2020)
Jack Lenor Larsen by
Having graduated at the Cranbrook Academy of Art, the American textile designer and weaver Jack Lenor Larsen founded his own textile-design company in 1953. Today the Larsen name is synonymous with excellent woven fabrics which epitomize the point where modernism, craft and technology intersect. Larsen is also an accomplished gardener and garden designer, a traveller, a patron of younger artists, and an avid collector and supporter of traditional and contemporary crafts from around the world.
Potter (Hopi – Tewa Pueblo, 1928–2019)
Art of Clay by
Major south-western American potters whose works are collected worldwide are represented here. The guide aims to help the reader identify signigican developments in this dynamic and rapidly changing art form.
Nampeyo and Her Pottery by
A biography of the famous Hopi potter whose work revitalized traditional pottery by integrating contemporary design into prehistoric ceramics. Nampeyo (1860-1942), although acknowledged as a preeminent artist, suffered the romantic myth making of outsiders because she spoke no English and lived acco
Potter (First Mesa, Hopi Reservation, 1900–1987)
Fannie Polacca Nampeyo, 1904–1987
Tewa, First Mesa, Hopi Reservation, Arizona
Miniature Polychrome Jar with Migration Patterns, 20th century
Earthenware
Native American art at Philbrook, August 17-September 21, 1980 by Nampeyo and Her Pottery by
A biography of the famous Hopi potter whose work revitalized traditional pottery by integrating contemporary design into prehistoric ceramics. Nampeyo (1860-1942), although acknowledged as a preeminent artist, suffered the romantic myth making of outsiders because she spoke no English and lived acco
Printmaker (United States, b. 1954).
Puretz, Deborah 2000. Out of Control #48. 2000. Etching on paper.15 5/8 x 15 7/16 inches. Flint Institute of Arts. Artstor, https://library.artstor.org/asset/AFLINTIG_10313652026.
Painter, Printmaker (United States, born in Jamaica, 1928–2019)
Mavis Pusey (United States, born in Jamaica, 1928–2019). Frozen Vibration, 1968. Screenprint, 26-1/2 x 33-1/2 inches, 2021-11-1 [matted]. Krannert Art Museum.
Magnetic Fields: Expanding American Abstraction, 1960s to Today by
In the history of American art, the contributions of African American artists to the development of abstraction have been largely overlooked. Magnetic Fields aims to change this perspective by focusing on nonrepresentational work by women artists of color, presenting a more complete presentation of American abstraction than has previously been offered. Intergenerational in scope, Magnetic Fields includes more than 20 artists born between 1891 and 1981, among them Lilian Thomas Burwell, Mildred Thompson, Candida Alvarez, Betty Blayton, Nanette Carter, Brenna Youngblood and Jennie C. Jones.
