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Like any great university, the University of Illinois owes its prominence to the excellence of its faculty. In Lillian Hoddeson's No Boundaries, twenty-three scholars provide easily accessible vignettes about University of Illinois faculty who have made major contributions to their fields, to knowledge, and to the world. Here are many of the most inspiring--and often most amusing--people whose work elevated the University of Illinois into a world leader in a variety of areas. Their lives demonstrate again and again that the work of the University takes place as much away from campus as on it: Oscar Lewis's pioneering studies of poverty in Mexico, for example, Ralph Grim's geological work in Africa, and Nathan Newmark's architectural work in Mexico City. Here also are insights into the remarkable careers of classicist William Oldfather, chemist Roger Adams, the amazing double Nobel Prize-winning physicist John Bardeen, and accounts of Katharine Sharp's work that made the University of Illinois Library into a national treasure. Also included are the legendary contributions of the University of Illinois to computer science, biochemistry, history, literary study, and electronic music.
For decades now, the story of art in America has been dominated by New York. It gets the majority of attention, the stories of its schools and movements and masterpieces the stuff of pop culture legend. Chicago, on the other hand . . . well, people here just get on with the work of making art. Now that art is getting its due. Art in Chicago is a magisterial account of the long history of Chicago art, from the rupture of the Great Fire in 1871 to the present, Manierre Dawson, László Moholy-Nagy, and Ivan Albright to Chris Ware, Anne Wilson, and Theaster Gates. The first single-volume history of art and artists in Chicago, the book—in recognition of the complexity of the story it tells—doesn’t follow a single continuous trajectory. Rather, it presents an overlapping sequence of interrelated narratives that together tell a full and nuanced, yet wholly accessible history of visual art in the city. From the temptingly blank canvas left by the Fire, we loop back to the 1830s and on up through the 1860s, tracing the beginnings of the city’s institutional and professional art world and community. From there, we travel in chronological order through the decades to the present. Familiar developments—such as the founding of the Art Institute, the Armory Show, and the arrival of the Bauhaus—are given a fresh look, while less well-known aspects of the story, like the contributions of African American artists dating back to the 1860s or the long history of activist art, finally get suitable recognition. The six chapters, each written by an expert in the period, brilliantly mix narrative and image, weaving in oral histories from artists and critics reflecting on their work in the city, and setting new movements and key works in historical context. The final chapter, comprised of interviews and conversations with contemporary artists, brings the story up to the present, offering a look at the vibrant art being created in the city now and addressing ongoing debates about what it means to identify as—or resist identifying as—a Chicago artist today. The result is an unprecedentedly inclusive and rich tapestry, one that reveals Chicago art in all its variety and vigor—and one that will surprise and enlighten even the most dedicated fan of the city’s artistic heritage. Part of the Terra Foundation for American Art’s year-long Art Design Chicago initiative, which will bring major arts events to venues throughout Chicago in 2018, Art in Chicago is a landmark publication, a book that will be the standard account of Chicago art for decades to come. No art fan—regardless of their city—will want to miss it.
This revealing monograph explores how Sinsabaugh's wide format photographs expose the bond between humankind and the earth as suggested by his images of wide horizons, interspersed by skyscrapers, bridges, silos and highways. 96 colour & 200 b/w illustrations
This generously illustrated volume is the first comprehensive publication devoted to the powerfully expressive work of David Park (1911–60). Best known as the founder of Bay Area Figurative art, Park moved from Boston to California at the age of seventeen and spent most of his adult life in and around San Francisco. In the immediate postwar years, like many avant-garde American artists, he engaged with Abstract Expressionism and painted non-objectively. In a moment of passion in 1949, he made the radical decision to abandon nearly all of his abstract canvases at the Berkeley city dump and return to the human figure, in so doing marking the beginning of the Bay Area Figurative movement. The astonishingly powerful paintings he made in the decade that followed brought together his long-held interest in classic subjects such as portraiture, domestic interiors, musicians, rowers, and bathers with lush, gestural paint handling and an extraordinary sense of color. In 1958–59 Park reached his expressive peak, reveling in the sensuous qualities of paint to create intensely physical, psychologically charged, and deeply felt canvases. This fertile period cut short by illness in 1960, Park transferred his creative energy to other mediums when he could no longer work on canvas. In the last months of his life, bedridden, he produced an extraordinary thirty-foot-long felt-tip-pen scroll and a poignant series of gouaches. Published to accompany the first major museum exhibition of Park’s work in more than thirty years, David Park: A Retrospective traces the full arc of the artist’s career, from his early social realist and cubist-inspired efforts of the 1930s to his mature figurative paintings of the 1950s and his astounding final works on paper. An overview of Park’s full body of work by Janet Bishop, SFMOMA’s Thomas Weisel Family Curator of Painting and Sculpture, will be joined by approximately ninety full-color plates of paintings and works on paper; an essay by Tara McDowell on the figure drawing sessions held by Park, Richard Diebenkorn, Elmer Bischoff, Frank Lobdell, and others in their studios starting in 1953; short essays on Park’s scroll, his gouaches, and the portraits that Imogen Cunningham and Park made of each other; and an illustrated chronology. Published in association with the San Francisco Museum of Modern Art. Exhibition schedule: Modern Art Museum of Fort Worth: June 2–September 8, 2019 Kalamazoo Institute of Arts: December 21, 2019–March 15, 2020 San Francisco Museum of Modern Art: April 11–September 7, 2020