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Abstract painting meets theosophical spirituality in 1930s New Mexico: the first book on a radical, astonishingly prescient episode in American modernism Founded in Santa Fe and Taos, New Mexico, in 1938, at a time when social realism reigned in American art, the Transcendental Painting Group (TPG) sought to promote abstract art that pursued enlightenment and spiritual illumination. The nine original members of the Transcendental Painting Group were Emil Bisttram, Robert Gribbroek, Lawren Harris, Raymond Jonson, William Lumpkins, Florence Miller Pierce, Agnes Pelton, Horace Towner Pierce and Stuart Walker. They were later joined by Ed Garman. Despite the quality of their works, these Southwest artists have been neglected in most surveys of American art, their paintings rarely exhibited outside of New Mexico. Faced with the double disadvantage of being an openly spiritual movement from the wrong side of the Mississippi, the TPG has remained a secret mostly known only to cognoscenti. Another World: The Transcendental Painting Group aims to address this slight, claiming the group's artists as crucial contributors to an alternative through-line in 20th-century abstraction, one with renewed relevance today. This volume provides a broad perspective on the group's work, positioning it within the history of modern painting and 20th-century American art. Essays examine the TPG in light of their international artistic peers; their involvement with esoteric thought and Theosophy; the group's sources in the culture and landscape of the American Southwest; and the experience of its two female members.
Agnes Pelton became famous for her distinctive metaphysical landscape paintings rooted in the imagery of the American Southwest and California. Drawing chiefly on her own inspirations, superstitions, and beliefs, Pelton manifested emotional states in the form of ethereal veils of light, jagged rock forms, shimmering stars, and exaggerated horizons. Through these imaginary tableaus, she constructed a fantastic world that allowed her to make sense of that which is uncontrollable, establishing for herself a new universal order rooted in the natural world. Agnes Pelton: Desert Transcendentalist is the first survey of this understudied painter in more than twenty-two years. Examining the artist's work in relation to the movements of abstraction, surrealism, and art of the occult, this vibrant book sheds light on Pelton's remarkable influence on American spiritual modernism. Exhibition Schedule Palm Springs Art Museum Palm Springs, CA November 19, 2020-September 6, 2021
A celebration of the careers of four extraordinary American women artists. This is the first publication to bring together the work of these four important American women Modernists.
From the winner of the Nobel Prize in Literature and author of the Booker Prize–winning novel The Remains of the Day In the face of the misery in his homeland, the artist Masuji Ono was unwilling to devote his art solely to the celebration of physical beauty. Instead, he put his work in the service of the imperialist movement that led Japan into World War II. Now, as the mature Ono struggles through the aftermath of that war, his memories of his youth and of the "floating world"—the nocturnal world of pleasure, entertainment, and drink—offer him both escape and redemption, even as they punish him for betraying his early promise. Indicted by society for its defeat and reviled for his past aesthetics, he relives the passage through his personal history that makes him both a hero and a coward but, above all, a human being.
Bernard Piffaretti on Pierrot, formerly known as Gilles by Jean-Antoine Watteau -- Ana Prvacki on Grotto of Sarrazine near Nans-sous-Sainte-Anne by Gustave Courbet -- Pipilotti Rist on Shiva Nataraja from Tamil Nadu -- Julião Sarmento on Portrait of a young woman by Domenico Ghirlandaio -- Mithu Sen on a red sandstone torso from Harappa -- Stephen Shore on the Studiolo from the Ducal Palace in Gubbio -- Shinique Smith on Canyon by Robert Rauschenberg -- Kishio Suga on Tokyo stone line by Richard Long -- Do Ho Suh on Kumgang Mountain by Jeong Seon -- Diana Thater on Video flag Z by Nam June Paik -- Rikrit Tiravanija on Venus of Bangkok by Montien Boonma -- Luc Tuymans on The Virgin and Child with Canon van der Paele by Jan Van Eyck -- Bill Viola on The Annunciation by Dieric Bouts -- Edmund de Waal on The interior of the Grote Kerk at Haarlem by Pieter Saenredam -- Gillian Wearing on Self-portrait at the age of 63 by Rembrandt --.
From the ruins of communism, Boris Groys emerges to provoke our interest in the aesthetic goals pursued with such catastrophic consequences by its founders. Interpreting totalitarian art and literature in the context of cultural history, this brilliant essay likens totalitarian aims to the modernists’ goal of producing world-transformative art. In this new edition, Groys revisits the debate that the book has stimulated since its first publication.
When the occult came to the American West: individualism and magic in the art of California, from Agnes Pelton to Jess "It is in America that the transformation will take place, and has already silently commenced." With these words, written in The Secret Doctrine in 1888, occultist philosopher Helena Blavatsky drew a direct connection between the Theosophical Society and the dynamic energy of 19th-century Americanism. Blavatsky and her successors identified the American West as the perfect site for a rebirth and re-enchantment of humanity, drawing those seeking spiritual fulfilment outside of organized religion to the dramatic landscapes of California, Arizona, Utah and New Mexico--places which have long beckoned searchers of all kinds. The syncretic nature of Theosophy allowed for and even encouraged individualism in belief, making Theosophy a good fit for the notions of freedom and personal agency that characterized the American West in the popular imaginary. Among those drawn to the American West seeking spiritual answers in the early 20th century were artists. In 2014, the Nora Eccles Harrison Museum at Utah State University staged the first exhibition to explore artistic responses to this confluence of enchanted thought and the American West. Building on this precedent, Enchanted Modernities: Theosophy, the Arts and the American West is the first publication devoted to studying these relationships in art and music. Through a series of color plates, contextual essays, interviews and interpretations of individual works by artists such as the Dynaton group (Wolfgang Paalen, Gordon Onslow Ford, Lee Mullican), Oskar Fischinger, Emil Bisttram, Lawren Harris, Raymond Jonson, Agnes Pelton, Wolfgang Paalen, Beatrice Wood, Dane Rudhyar and Jess, Enchanted Modernities explores the role of Theosophical thought in redefining the relationship between enchantment and modernism, and fostering lively cultural networks in a region that that has long captured the world's imagination.
America is haunted. Ghosts from its violent history--the genocide of Indigenous peoples, slavery, the threat of nuclear annihilation, and traumatic wars--are an inescapable and unsettled part of the nation's heritage. Not merely in the realm of metaphor but present and tangible, urgently calling for contact, these otherworldly visitors have been central to our national identity. Through times of mourning and trauma, artists have been integral to visualizing ghosts, whether national or personal, and in doing so have embraced the uncanny and the inexplicable. This stunning catalog, accompanying the first major exhibition to assess the spectral in American art, explores the numerous ways American artists have made sense of their own experiences of the paranormal and the supernatural, developing a rich visual culture of the intangible. ​Featuring artists from James McNeill Whistler and Kerry James Marshall to artist/mediums who made images with spirits during séances, this catalog covers more than two hundred years of the supernatural in American art. Here we find works that explore haunting, UFO sightings, and a broad range of experiential responses to other worldly contact.
Surrealism Beyond Borders challenges conventional narratives of a revolutionary artistic, literary, and philosophical movement. Tracing Surrealism's influence and legacy from the 1920s to the late 1970s in places as geographically diverse as Colombia, Czechoslovakia, Egypt, Japan, Korea, Mexico, the Philippines, Romania, Syria, Thailand, and Turkey, this publication includes more than 300 works of art in a variety of media by well-known figures—including Dalí, Ernst, Kahlo, Magritte, and Miró—as well as numerous artists who are less widely known. Contributions from more than forty distinguished international scholars explore the network of Surrealist exchange and collaboration, artists' responses to the challenges of social and political unrest, and the experience of displacement and exile in the twentieth century. The multiple narratives addressed in this expansive book move beyond the borders of history, geography, and nationality to provocatively redraw the map of Surrealism.
After attending Wake Forest University on an athletic scholarship, J. Donald Nichols played professional baseball with the Baltimore Orioles. From there he went into the real estate development business. He has built more than 175 shopping centers throughout the country, and his company, JDN Realty, is listed on the New York Stock Exchange. Nichols first began collecting American Impressionist paintings in the 1970s, buying one painting as his personal reward for each shopping center he built. After ten years, he began looking for a new area in which to collect. The J. Donald Nichols Collection is now recognized as perhaps the finest collection of American abstract art of the 1930s and 1940s ever assembled.