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Best known for his modernist paintings and prints, the multitalented artist Ralston Crawford (1906-1978) maintained a deep and intensive interest in photography throughout his career, using the camera as a tool of both documentary and artistic expression. This exquisitely produced publication provides a fresh, comprehensive look at Crawford's photographs from 1938 through the mid-1970s, including both well-known works and previously unpublished images. Some of his photographic images served as the basis for paintings and prints, but many more were made for their own sake as photographs, capturing a wide variety of subjects, from pristine industrial forms to the vibrant street life and musical culture of New Orleans. This volume locates Crawford's photographic production in the context of his overall artistic career and within the creative currents of his time, enhancing our understanding of Crawford as an artist and serving as the best and most up-to-date study of his photographs. Distributed for The Hall Family Foundation in association with The Nelson-Atkins Museum of Art Exhibition Schedule: The Nelson-Atkins Museum of Art, Kansas City (10/26/18-04/07/19)
Early in his career, Ralston Crawford (1906-1978) earned acclaim for his Precisionist paintings of architectural subjects associated with a forward-looking, industrialized America. But Crawford was a multifaceted artist with a curiosity for the world beyond the United States, one whose work in various media continued to evolve, with his later, more abstract painting having a remarkable emotional dimension. This new book focuses on two series of works "Torn Signs" and "Semana Santa" that Crawford developed mostly over the course of the last 20 or so years of his life. Rick Kinsel considers how and why his travels to Europe, especially to Andalusia in Spain, were so inspiring to Crawford. Semana Santa, or Holy Week, is observed in Seville with public processions of penitential confraternities. Witnessing this event proved to be a moving experience for Crawford, and he revisited the subject of the penitents multiple times across a number of years.
'A fantastically timely book written by one of the smartest thinkers in Britain' Piers Morgan 'Impassioned, scholarly and succinct' The Times Free speech is the bedrock of all our liberties, and yet in recent years it has come to be mistrusted. A new form of social justice activism, which perceives language as potentially violent, has prompted a national debate on where the limitations of acceptable speech should be drawn. Governments throughout Europe have enacted 'hate speech' legislation to curb the dissemination of objectionable ideas, Silicon Valley tech giants are collaborating to ensure that they control the limitations of public discourse, and campaigners in the US are calling for revisions to the First Amendment. However well-intentioned, these trends represent a threat to the freedoms that our ancestors fought and died to secure. In this incisive and fascinating book, Andrew Doyle addresses head-on the most common concerns of free speech sceptics, and offers a timely and robust defence of this most foundational of principles.
This volume features artists who brought a new sophistication and elegancento American art in the three decades before World War I. Wealthyndustrialists eager to acquire culture began to patronize native artists whoad achieved international recognition. John Singer Sargent, Irving Wiles andecilia Beaux created portraits of these new patrons, while John La Farge andugustus Saint-Gaudens made luxurious adornments for their homes. One groupf painters - including Louis Comfort Tiffany, Frederick Arthur Bridgman,enry Ossawa Tanner and Charles Sprague Pearce - responded especially to theascnation with exotic Middle Eastern, Egyptian or "Oriental" cultures thatharacterized this age of international imperialism. The educated and refinedspects of Gilded Age culture are expressed here in Renaissance-inspiredaintings by Abbott Thayer and Mary Cassatt. Romantic literary works byisionary Albert Pinkham Ryder symbolize the idealized strivings of thiseneration, while the rugged masculine landscapes of Winslow Homer emblemizehe struggle and conflict that marked this period of contending social and
This exhibition sets the art of Edward Hopper in the context of the diverse and controversial movements dominating American art during the first half of the twentieth century.
"Nuclear weapons, since their conception, have been the subject of secrecy. In the months after the dropping of the atomic bombs on Hiroshima and Nagasaki, the American scientific establishment, the American government, and the American public all wrestled with what was called the "problem of secrecy," wondering not only whether secrecy was appropriate and effective as a means of controlling this new technology but also whether it was compatible with the country's core values. Out of a messy context of propaganda, confusion, spy scares, and the grave counsel of competing groups of scientists, what historian Alex Wellerstein calls a "new regime of secrecy" was put into place. It was unlike any other previous or since. Nuclear secrets were given their own unique legal designation in American law ("restricted data"), one that operates differently than all other forms of national security classification and exists to this day. Drawing on massive amounts of declassified files, including records released by the government for the first time at the author's request, Restricted Data is a narrative account of nuclear secrecy and the tensions and uncertainty that built as the Cold War continued. In the US, both science and democracy are pitted against nuclear secrecy, and this makes its history uniquely compelling and timely"--
The final chapter covers government-sponsored art in the 1930s, including murals in public buildings and the Index of American Design. Collected here are 160 illustrations of Florida art, 100 in color. The illustrated paintings were gathered from public and private collections all over the country, many reproduced here for the first time.
A fresh look at a bold and dynamic 20th-century American art style Characterized by highly structured, geometric compositions with smooth surfaces, linear qualities, and lucid forms, Precisionism fully emerged after World War I and flourished in the 1920s and 1930s. This insightful publication, featuring more than 100 masterworks by artists such as Charles Sheeler, Georgia O'Keeffe, and Charles Demuth, sheds new light on the Precisionist aesthetic and the intellectual concerns, excitement, tensions, and ambivalences about industrialization that helped develop this important strand of early American modernism. Essays explore the origins of the style--which reconciled realism with abstraction and adapted European art movements like Purism, Cubism, and Futurism to American subject matter--as well as its relationship to photography, and the ways in which it reflected the economic and social changes brought about by industrialization and technology in the post-World War I world. In addition to making a meaningful contribution to the resurging interest in Modernism and its revisionist narratives, this book offers copious connections between the past and our present day, poised on the verge of a fourth industrial revolution. Fine Arts Museums of San Francisco in association with Yale University Press Exhibition Schedule: Fine Arts Museums of San Francisco, de Young (03/24/18-08/12/18) Dallas Museum of Art (09/16/18-01/06/19)
Modernism, referring to the period dating roughly from the late 19th century through 1970, is regarded as a crucial moment in the history of American art. Although Modernist artists adopted a wide range of styles, they were tied by a desire to interpret the rapidly changing nature of society, and to cast aside the conventions of representational art. Some, such as Stuart Davis and Joseph Stella, responded to consumerism, urbanism, and industrial technology, while others, such as Arthur Dove and Georgia O’Keeffe, found inspiration in nature and the traditional Native American culture of the Southwest. This magnificent new book presents the works of the Vilcek Collection, an unparalleled private collection of American Modernist art. Jan and Marica Vilcek acquired their first American Modernist work in 2001, and have since assembled an amazing collection of masterworks representative of a crucial moment in the history of American art. Art historian Lewis Kachur explores almost 100 rarely seen paintings, works on paper, and sculptures by more than 20 leading artists active during the first half of the last century, while William C. Agee contributes an authoritative introduction. Lavishly illustrated throughout, Masterpieces of American Modernism offers an outstanding overview of the radical shift in art that this movement represents.