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One of America’s leading curators, “a woman of resilience and vision, a writer of clarity and ardor” (Chicago Tribune), takes you on a personal tour of the world of modern art. In the Depression-era climate of the 1930s, Katharine Kuh defied the odds and opened a gallery in Chicago, where she exhibited such relatively unknown artists as Fernand Léger, Paul Klee, Joan Miró, Ansel Adams, Marc Chagall, and Alexander Calder. Her extraordinary story reveals how and why America became a major force in the world of contemporary art.
He was born to privilege and sought the world of art. She lived at the center of that world—a working artist encouraged by the famous artists in her extended family. Together, Duncan Phillips and Marjorie Acker Phillips founded The Phillips Collection in Washington, D.C., the first museum of modern art in America. It opened in the grand Phillips family home in 1921, eight years before New York City’s Museum of Modern Art and only a few weeks after they wed. Duncan took the lead in developing the collection and showcasing it. Marjorie kept space and time to paint. Duncan considered Marjorie a partner in the museum even though she was not directly involved in all purchasing and presentation decisions. To him, her influence was omnipresent. Although Duncan’s writings on artists and art history were widely published, he chose not to provide much instruction for visitors to the museum. Instead, he combined signature methods of displaying art which live on at The Phillips Collection. Phillips had viewers in mind when he hung American art with European art—or art of the past with modern art, and he frequently rearranged works to stimulate fresh encounters. With unfettered access to archival material, author Pamela Carter-Birken argues that The Phillips Collection’s relevancy comes from Duncan Phillips’s commitment to providing optimal conditions for personal exploration of art. In-depth collecting of certain artists was one of Phillips’s methods of encouraging independent thinking in viewers. Paintings by Pierre Bonnard, Arthur Dove, Georgia O’Keeffe, John Marin, Jacob Lawrence, and Mark Rothko provide testament to the power of America’s first museum of modern art.
Winner of the Chicago Tribune‘s 2013 Heartland Prize A critically acclaimed history of Chicago at mid-century, featuring many of the incredible personalities that shaped American culture Before air travel overtook trains, nearly every coast-to-coast journey included a stop in Chicago, and this flow of people and commodities made it the crucible for American culture and innovation. In luminous prose, Chicago native Thomas Dyja re-creates the story of the city in its postwar prime and explains its profound impact on modern America—from Chess Records to Playboy, McDonald’s to the University of Chicago. Populated with an incredible cast of characters, including Mahalia Jackson, Muddy Waters, Howlin’ Wolf, Chuck Berry, Sun Ra, Simone de Beauvoir, Nelson Algren, Gwendolyn Brooks, Studs Turkel, and Mayor Richard J. Daley, The Third Coast recalls the prominence of the Windy City in all its grandeur.
An exemplary survey that reassesses the impact of the most important books to have shaped art history through the twentieth century Written by some of today’s leading art historians and curators, this new collection provides an invaluable road map of the field by comparing and reexamining canonical works of art history. From Émile Mâle’s magisterial study of thirteenth-century French art, first published in 1898, to Hans Belting’s provocative Likeness and Presence: A History of the Image before the Era of Art, the book provides a concise and insightful overview of the history of art, told through its most enduring literature. Each of the essays looks at the impact of a single major book of art history, mapping the intellectual development of the writer under review, setting out the premises and argument of the book, considering its position within the broader field of art history, and analyzing its significance in the context of both its initial reception and its afterlife. An introduction by John-Paul Stonard explores how art history has been forged by outstanding contributions to scholarship, and by the dialogues and ruptures between them.
Looking and Listening: Conversations between Modern Art and Music invites the art and music lover to place these two realms of creative endeavor into an open dialog. Although the worlds of music and visual art often seem to take separate paths, they are usually parallel. Conductor and art connoisseur Brenda Leach takes unique pairings of well-known visual art works and musical compositions from the twentieth century to identify the shared sources of inspiration, as well as similarities in theme, style, and technique, to explore the historical and cultural influences on the great artists and composers in the twentieth century. Looking and Listening asks and answers: What does jazz have in common with paintings by Stuart Davis and Piet Mondrian? How did Gershwin’s Rhapsody in Blue affect the work of artist Arthur Dove? How did painter Georgia O’Keeffe and composer Aaron Copland capture the spirit of a youthful America entering the twentieth century? What did Kandinsky and Schoenberg share in their artistic visions? Leach takes readers on a whirlwind tour of the lives of these artists, surveying many of the key movements in the twentieth century by comparing representative works from the modern masters of the visual arts and music. Leach’s refreshing and innovation approach will interest those passionate about twentieth-century art and music and is ideal for any student or instructor, museum docent, or music programmer seeking to draw the lines of connection between these two art forms.
Art/Museums takes the study of international relations to the art museum. It seeks to persuade those who study international relations to take art/museums seriously and museum studies to take up the insights of international relations. And it does so at a time when both international relations and art are said to be at an end-that is, out of control and beyond sight of their usual constituencies. The book focuses on the British Museum, the National Gallery of London, the Museum of Iraq, the Museum of Modern Art in New York, the Getty museums, the Guggenheim museums, and "museum" spaces instantly created by the attacks on the World Trade Center in 2001. The art includes works over which museums might struggle, acquire through questionable means, hoard and possibly lose, such as the Parthenon sculptures, Raphael's Madonna of the Pinks, the ancient art of Babylon, modern art, and the art/museum itself in an era of rapid museum expansion. Bringing art, museums, and international relations together draws on the art technique of collage, which combines disparate objects, themes, and time periods in one work to juxtapose unexpected elements, leaving the viewer to relate objects that are not where they are expected to be.
This comprehensive reconstruction and interpretation of Louise and Walter Arensberg’s groundbreaking collection of modern and pre-Columbian art takes readers room by room, wall by wall, object by object through the couple’s Los Angeles home in which their collection was displayed. Following the Armory Show of 1913, Louise and Walter Arensberg began assembling one of the most important private collections of art in the United States, as well as the world’s largest private library of works by and about the philosopher Sir Francis Bacon. By the time Louise and Walter died—in 1953 and 1954, respectively—they had acquired some four thousand rare books and manuscripts and nearly one thousand works of art, including world-class specimens of Cubism, Surrealism, and Primitivism, the bulk of Marcel Duchamp’s oeuvre, and hundreds of pre-Columbian objects. These exceptional works filled nearly all available space in every room of their house—including the bathrooms. The Arensbergs have long had a central role in the histories of Modernism and collecting, but images of their collection in situ have never been assembled or examined comprehensively until now. Presenting new research on how the Arensbergs acquired pre-Columbian art and featuring never-before-seen images, Hollywood Arensberg demonstrates the value of seeing the Arensbergs’ collection as part of a single vision, framed by a unique domestic space at the heart of Hollywood’s burgeoning artistic scene. This publication has been generously supported by Furthermore: a program of the J.M. Kaplan fund.
The true story of the intimate relationship that gave birth to the Farnsworth House, a masterpiece of twentieth-century architecture—and disintegrated into a bitter feud over love, money, gender, and the very nature of art. “An intimate portrait . . . alive with architectural intrigue.”—Architect Magazine In 1945, Edith Farnsworth asked the German architect Mies van der Rohe, already renowned for his avant-garde buildings, to design a weekend home for her outside of Chicago. Edith was a woman ahead of her time—unmarried, she was a distinguished medical researcher, as well as an accomplished violinist, translator, and poet. The two quickly began spending weekends together, talking philosophy, Catholic mysticism, and, of course, architecture over wine-soaked picnic lunches. Their personal and professional collaboration would produce the Farnsworth House, one of the most important works of architecture of all time, a blindingly original structure made up almost entirely of glass and steel. But the minimalist marvel, built in 1951, was plagued by cost overruns and a sudden chilling of the two friends’ mutual affection. Though the building became world famous, Edith found it impossible to live in, because of its constant leaks, flooding, and complete lack of privacy. Alienated and aggrieved, she lent her name to a public campaign against Mies, cheered on by Frank Lloyd Wright. Mies, in turn, sued her for unpaid monies. The ensuing lengthy trial heard evidence of purported incompetence by an acclaimed architect, and allegations of psychological cruelty and emotional trauma. A commercial dispute litigated in a rural Illinois courthouse became a trial of modernist art and architecture itself. Interweaving personal drama and cultural history, Alex Beam presents a stylish, enthralling narrative tapestry, illuminating the fascinating history behind one of the twentieth century’s most beautiful and significant architectural projects.
"Mark Rothko was not only one of the most influential American painters of the twentieth century; he was a scholar, an educator, and a deeply spiritual human being. Born Marcus Yakovlevich Rotkovitch, he emigrated from the Russian Empire to the United States at age ten, already well educated in the Talmud and carrying with him bitter memories of the pogroms and persecutions visited upon the Jews of Latvia. Few artists have achieved success as quickly, and by the mid-twentieth century, Rothko's artwork was being displayed in major museums throughout the world. In May 2012 his painting Orange, Red, Yellow was auctioned for nearly $87 million, setting a new Christie's record. Author Annie Cohen-Solal gained access to archival materials no previous biographer had seen. As a result, her book is an extraordinarily detailed portrait of Rothko the man and the artist, an uncommonly successful painter who was never comfortable with the idea of his art as a commodity"--
Recent years have seen an enormous surge of interest in fiber arts, with works made of thread on display in art museums around the world. But this art form only began to transcend its origins as a humble craft in the late nineteenth and early twentieth centuries, and it wasn’t until the 1950s and 1960s that artists used the fiber arts to build critical practices that challenged the definitions of painting, drawing, and sculpture. One of those artists was Lenore Tawney (1907–2007). Raised and trained in Chicago before she moved to New York, Tawney had a storied career. She was known for employing an ancient Peruvian gauze weave technique to create a painterly effect that appeared to float in space rather than cling to the wall, as well as for being one of the first artists to blend sculptural techniques with weaving practices and, in the process, pioneered a new direction in fiber art. Despite her prominence on the New York art scene, however, she has only recently begun to receive her due from the greater art world. Accompanying a retrospective at the John Michael Kohler Arts Center, this catalog features a comprehensive biography of Tawney, additional essays on her work, and two hundred full-color illustrations, making it of interest to contemporary artists, art historians, and the growing audience for fiber art. Copublished with the John Michael Kohler Arts Center.