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"Where can a single word lead us? In this book of poems, titles are used like quirky dictionary entries that lead readers to archaisms, tragic histories, omni-present popular culture, observations of the natural world and elegy. We find Salman Rushdie and Donald Trump at a Crosby, Stills and Nash concert; a visit to a former detention center in Argentina's Dirty War ends up in 80s pop songs and bilingual jokes. The pervasiveness of violence and pain is threaded throughout the poems, but so is wonder and joy"--Publisher

The cased set comprises a portfolio containing an engraved map ("Carta borealis") by the artist and a facsimile bronze copy of Nansen's Nobel Peace Prize medal; a vellum sheet containing an artist's statement; and "Nansen's pastport," a volume illustrated with climate change scenes and containing excerpts from Nansen's Nobel Peace Prize lecture ("The suffering people of Europe," 1922) and designed to emulate a United States passport

Linocut portraits of 12 film directors who played significant roles in both popular and avant-garde cinema in twentieth century Mexico: Alejandro Galindo, Arturo Ripstein, Roberto Gavaldón, Luis Alcoriza, Serguei Eisenstein, Alfonso Arau, Felipe Cazals, Emilio ’El Indio’ Fernandez, Luis Buñuel, Adolfo Best Maugard, Gilberto Martinez Solares, and Ismael Rodriguez. With one of the original linoleum plates.

Minimalist artists' book exploring nihilism, angst, and loneliness through phrases printed with movable type in various colors.

Teaching model created as part of the symposium on chained bindings, Linking the Past, Forging the Future: A Symposium on Chained Bindings in Forms Old and New, held at Stanford's Green Library on October 29, 2019. Stanford Libraries commissioned the handmade book and binding by Karen Hanmer, with a chain hand-forged by blacksmith Celeste Flores. Their work was inspired by the binding on a 15th-century manuscript of the biblical commentaries by Nicholas of Lyra (Stanford Libraries Manuscript Collection MSS Codex M0413 FF BB; https://searchworks.stanford.edu/view/4083223)

• There is design in everything / Zoë Ryan
• Clara Porset and the politics of design / Randal Sheppard
• A friendship formed by a chair : Clara Porset and Esther McCoy / Christina L. De León
• A Mexican perspective on modernity : Lola Álvarez Bravo's photomurals / Johanna Spanke
• Mexico's forgotten muralist : Lola Álvarez Bravo and photomurals in the 1950s / James Oles
• Making the timeless : Anni Albers, Mesoamerican sculpture, and the thing itself / Erica Warren
• Lessons in transparency : Ruth Asawa in Mexico / Ann Reynolds
• Textile memories : Cynthia Sargent / Ana Elena Mallet
• La Brava : Sheila Hicks in Mexico / Glenn Adamson.

Expanding our understanding of Mexico's important role in the story of modern art and design through the works of six important women artists and designers This stunning book unites for the first time the pioneering work of six artists and designers: Clara Porset, Lola Alvarez Bravo, Anni Albers, Ruth Asawa, Cynthia Sargent, Sheila Hicks. Inspired by both local traditions and modern methods, these women made art that reflected and contributed to Mexico's rich artistic landscape at the height of the modern period. Their work-which included furniture design, jewelry, photography, photomurals, prints, sculpture, and textiles-was rooted in modernism and grounded in abstraction. This constellation of like-minded practitioners shared an affinity for Mexico, a country all lived in or visited between the 1940s and the 1970s. In bringing their works together, this book offers an entirely new lens on modernism in Mexico. Exploring the artistic culture of the country's postrevolutionary period, this book contains reproductions from the exhibition catalogue-no longer in print-that accompanied Clara Porset's groundbreaking 1952 exhibition in Mexico City Art in Daily Life as well as stunning illustrations of each artist's work. Essays written by an international team of esteemed scholars tell a more complete and nuanced story of Mexico's role as a center of modern art and design.
(source: Nielsen Book Data)

• Preface / Karen and Robert Duncan
• Foreword / Trish Bergren
• Introduction / Anne Pagel
• Joseph Goldyne : waterfalls imagined / Jeremy Tessmer
• Biography
• Bibliography
• Selected public & private collections
• Illustrations
• Acknowledgments
• Colophon

"Joseph Goldyne's works are an autobiography of sorts. His images include such personal objects as favored books with time-softened corners, well-worn jackets, clothing hanging from hooks or packed into closets, a parrot tulip bending in its crystal vase. Viewers who pause to look at these works might recall the gooey goodness of cherry pie on a hot July day, falling under the trance of Anne Frank's diary or the soft, light, cottony feel of a favorite summer robe. At heart, these works are sweet mementos of life's passage. But Goldyne's interest isn't limited to intimate, closely observed objects. During the last 14 years, he has depicted waterfalls from countless vantage points . . . water plunging unimpeded, cascading over boulders, falling in small rivulets or gushing in such great torrents that only clouds of mist are visible. Sometimes the artist depicts water as it comes in contact with stones, gravel or pools of water. Goldyne is keenly interested in art history and his works reflect a multiplicity of sources. Joseph Goldyne: Ephemeral Memories includes works from his personal collection by several such consequential artists. A small oil sketch by the renowned 19th century painter of America's mountains, Albert Bierstadt, exemplifies the unfathomable dynamism of nature, even in the hush of sundown. Five images of waterfalls by Japanese artists of the 18th and 19th Century Shijo School reflect a quiet reverence for nature. Their use of the elongated vertical format, their restriction of focus to the waterfall and their minimal application of paint are echoed in Goldyne's approach. In some respects, Goldyne's waterfalls correspond to his images of jackets and shirts. Like the clothing - which has both a visible, public side and an obscured, private side - water and haze veil sand, soil and gravel, the unseen substances that erode the land. In some images, the ceaseless torrents seem to have cleaved the earth into two separate halves. Goldyne freezes these imagined moments within time's continuum, each droplet, each particle binding with others to do its part. Goldyne received a Bachelor of Arts degree in art history at the University of California, Berkeley, and then entered the University of California, San Francisco, where, in 1968, he earned an M.D. Still longing to practice art, he enrolled at Harvard University for a master's degree in art history. Hints of these two sides of Goldyne's nature are visible in the balance of sensibility with technical exactitude that has characterized his life's work."--from Clarinda Carnegie Art Museum exhibition site