Book
128 pages : illustrations (chiefly color) ; 28 cm
One of the best-known artists of her time, and a true American legend, Anna Mary Robertson Grandma Moses (1860-1961) was often marginalized as a latter-day folk painter or a phenomenon of popular media. Accompanying a traveling exhibition, this new book looks closely at the paintings themselves and the artist's compelling biography to reassert her role in the development of a culture of modernist art at mid-century. Presenting fresh research, several scholars examine Moses's name, public persona, painted world, and wildly popular place in American pop culture; address the myth of the self-taught artist; and contextualize her work alongside such contemporaries as Horace Pippin, Elie Nadelman, Yasuo Kuniyoshi, and Morris Hirshfield.
(source: Nielsen Book Data)9780847849239 20160802
Art & Architecture Library (Bowes)
ARTHIST-477-01
Book
223 pages : illustrations (chiefly color) ; 33 cm
  • Jean Dubuffet et la Suisse / Sarah Lombardi, Directrice de la Collection de l'Art Brut, Lausanne -- Lausanne: les opportunités de l'Histoire / Daniel Brélaz Syndic de Lausanne -- La Collection de l'Art Brut à Lausanne : un pari réussi / Sarah Lombardi -- Aux origines de la collection (1945-1971) -- Le voyage en Suisse de Jean Dubuffet en 1945 / Lia Bagutti -- Étudiante de master en histoire de l'art -- L'exposition "L'Art Brut" de Jean Dubuffet : un manifeste pour un art qui n'en a pas l'air / Sarah Lombardi -- L'Art Brut préféré aux arts culturels. Préface du catalogue de l'exposition "L'Art Brut", présentée à la galerie René Drouin, à Paris en 1949 / Jean Dubuffet -- "L'Art Brut", exposition à la galerie René Drouin, à Paris, en 1949. Sélection d'oeuvres -- La vie de la collection de 1950 à 1971 / Pascale Jeanneret Marini Conservatrice, Collection de l'Art Brut, Lausanne -- L'Art Brut aux États-Unis: infiltration et filtres de Jean Dubuffet / Valérie Rousseau Conservatrice, Self-Taught Art and Art Brut, American Folk Art Museum, New York -- Acquisitions entre 1950 et 1970 -- Sélection d'oeuvres De la donation à l'ouverture du musée (1971-1976) -- De Jean Dubuffet à Michel Thévoz, passage de témoin. Interview de Michel Thévoz, directeur de la Collection de l'Art Brut de 1976 à 2001 / Par Sarah Lombardi -- Le conseil consultatif / Michel Thévoz Directeur de la Collection de l'Art Brut de 1976 à 2001 -- Des "collections annexes" à la collection Neuve Invention / Sarah Lombardi -- Archives de la Collection de l'Art Brut : quelques notes / Vincent Monod -- Responsable de la bibliothèque et des images, Collection de l'Art Brut, Lausanne -- La Collection de l'Art Brut : 40 ans (1976-2016) -- 1976-2016: quarante ans d'acquisitions / Anie Zanzi Conservatrice, Collection de l'Art Brut, Lausanne -- L'ouverture des collections à d'autres continents. Interview de Lucienne Peiry, directrice de la Collection de l'Art Brut de 2001 à 2011 / Sarah Lombardi -- Spécificités techniques et enjeu de la conservation des oeuvres d'Art Brut / Mijanou Gold Technicienne des collections, Collection de l'Art Brut, Lausanne -- De "La seconde vie d'Armand Schulthess" à "L'Art Brut de Jean Dubuffet, aux origines de la collection" : quarante ans d'expositions / Astrid Berglund. Conservatrice, Collection de l'Art Brut, Lausanne -- Acquisitions entre 1976 et 2016 Sélection d'oeuvres.
"L'Art Brut de Jean Dubuffet, aux origines de la collection. En 1945, l'artiste français Jean Dubuffet invente l'oxymore "Art Brut" pour désigner les oeuvres réalisées par des autodidactes en marge du circuit officiel. Ayant réuni ces travaux sous forme de collection, il fera don de cet ensemble en 1971 à la Ville de Lausanne, qui inaugure la Collection de l'Art Brut en février 1976. Cet ouvrage, publié à l'occasion des quarante ans du musée, revient sur la naissance de l'institution lausannoise et sur les moments clés qui ont jalonné son développement. L'exposition qu'il accompagne met en lumière la première manifestation hors les murs de la Compagnie de l'Art Brut, intitulée "L'Art Brut", et présentée en 1949 à la galerie René Drouin, à Paris. Revisiter cet événement permet il, à la fois d'en mesurer l'audace et toute la portée critique pour l'époque, et de rassembler des oeuvres collectionnées par Jean Dubuffet entre 1945 et 1949, lesquelles forment le noyau d'origine de la Collection de l'Art Brut."--Page 4 of cover.
Art & Architecture Library (Bowes)
ARTHIST-477-01
Book
219 pages : illustrations ; 30 cm
  • "A real creator of creators" : how Mabel Dodge Luhan catalyzed American modernism / Lois P. Rudnick
  • Mabel Dodge Luhan : a new way to see and new things to say / MaLin Wilson-Powell
  • Whose history? Anglo patronage and the reframing of Hispano art and culture / Carmella Padilla.
Mabel Dodge Luhan (1879-1962) was a political, social, and cultural visionary. Over the years, she hosted famous gatherings in Florence and Greenwich Village, drawing a mix of intellectuals, writers and artists from East and West coasts and Europe. When Mabel Dodge moved to Taos, New Mexico and married the Native American Tony Lujan, they created a "Paris West" salon, putting Taos on the national and international map of the avant-garde. MDL's larger-than-life personality drew the likes of D H Lawrence, Jean Toomer, Mary Austin and Frank Waters; set designer Robert Edmond Jones; composer Carlos Chavez and musical impresario Leopold Stokowski; choreographer Martha Graham; and anthropologists Elsie Clews Parsons and John Collier to this funky little village in northern New Mexico. This book illustrates that fascinating Modernist period, and the topics Mabel Dodge Luhan and her friends were interested in: painting, photography, drama, psychology, radical politics, social reform and Native American rights.
(source: Nielsen Book Data)9780890136140 20160704
Art & Architecture Library (Bowes)
ARTHIST-477-01
Book
xviii, 262 pages, 16 unnumbered pages of color plates : illustrations (some color) ; 24 cm
  • Note on Internet Citations and Additional Web Resources Preface: Stories about Stories Introduction. Once upon a Time: Encountering the Word Made Flesh 1. On the Finster Trail: The Business of Howard Finster's Divine Busyness 2. Signs of the Times: Howard Finster and Prophetic Reenchantment 3. The Matter of My Mission: Howard Finster's Religious Template 4. The First and Second Noah: Howard Finster's Ark of Myth and Meaning 5. The Finster Mythos: Just the Facts in Howard Finster's Mythic Life 6. Snakes in the Garden: Life and Death in Paradise 7. The Strange Beauty of Bad and Nasty Art: Toward a Finsterian Aesthetic Conclusion. Howard Finster: The Hidden Man of the Heart Notes Acknowledgments List of Illustrations Index.
  • (source: Nielsen Book Data)9780520261099 20160618
The Reverend Howard Finster (1916-2001) was called the "backwoods William Blake" and the "Andy Warhol of the South, " and he is considered the godfather of contemporary American folk and visionary art. This book is the first interpretive analysis of the intertwined artistic and religious significance of Finster's work within the context of the American "outsider art" tradition. Finster began preaching as a teenager in the South in the 1930s. But it was not until he received a revelation from God at the age of sixty that he began to make sacred art. A modern-day Noah who saw his art as a religious crusade to save the world before it was too late, Finster worked around the clock, often subsisting on a diet of peanut butter and instant coffee. He spent the last years of his life feverishly creating his environmental artwork called Paradise Garden and what would ultimately number almost fifty thousand works of "bad and nasty art." This was visionary work that obsessively combined images and text and featured apocalyptic biblical imagery, flying saucers from outer space, and popular cultural icons such as Elvis Presley, Marilyn Monroe, Henry Ford, Mona Lisa, and George Washington. In the 1980s and 90s, he developed cult celebrity status, and he appeared in the Venice Biennale and on the Tonight Show. His work graced the album covers of bands such as R E M and Talking Heads. This book explores the life and religious-artistic significance of Finster and his work from the personal perspective of religion scholar Norman Girardot, friend to Finster and his family during the later years of the artist's life.
(source: Nielsen Book Data)9780520261099 20160618
Art & Architecture Library (Bowes)
ARTHIST-477-01
Book
375 pages : illustrations ; 29 cm
This lavishly illustrated volume is the first comprehensive study of the folk art collection purchased by the New-York Historical Society from Elie and Viola Nadelman in 1937. Exhibited by the couple from 1926 to 1937 in their pioneering Museum of Folk and Peasant Arts in Riverdale, New York, the nearly fifteen thousand works come from a collection spanning six centuries, thirteen countries, and a broad range of media. Authors Margaret K. Hofer and Roberta J.M. Olson explore a nucleus of some two hundred and sixteen highlights in eighty-seven catalog entries, as well asnine of Nadelman's own sculptures, and consider the possible interchanges between the Nadelman's collecting and his avant-garde art. Their research, employing new archival evidence from the Historical Society and the rich cache of Nadelman Papers, has resulted in exciting discoveries, among them Nadelman's active role in restoring some of his folk art objects.Featuring seven provocative essays, "Making It Modern "breaks new ground not only on the Nadelmans and folk art, but also in the history of American art and taste during the fast-paced cultural revolutions of the early twentieth century.Margaret K. Hofer is curator of decorative arts, New York Historical SocietyRoberta J.M. Olson is curator of drawings, New York Historical SocietyElizabeth Stillinger is an independent scholar.Kenneth L. Ames is professor at the Bard Graduate Center, New York City.Cynthia Nadelman is an independent scholar and writer.Barbara Haskell is the curator at the Whitney Museum of American Art.".
(source: Nielsen Book Data)9781907804298 20160618
Art & Architecture Library (Bowes)
ARTHIST-477-01
Book
xiv, 476 pages : illustrations ; 26 cm.
  • i. Table of Contents ii. Acknowledgements iii. Contributors Introduction Luisa Del Giudice, Sabato Rodia's Towers in Watts and the Search for Common Ground 1. Situating Sabato Rodia and The Watts Towers: Art Movements, Cultural Contexts, and Migrations 1.1 Jo Farb Hernandez, Local Art, Global Issues: Tales of Survival and Demise Among Contemporary Art Environments 1.2 Guglielmo Bilancioni, Everybody Knows This Is Nowhere: Simon Rodia and Fantastic Architecture 1.3 Paul A. Harris, The Poetic Concrete of Sam Rodia's Watts Towers and the Concrete Poetry of Ronald Johnson 1.4 Thomas Harrison, Without Precedent: The Watts Towers 1.5 Richard Candida Smith, An Era of Grand Ambitions: Sam Rodia and California Modernism 1.6 Laura E. Ruberto, A California Detour on the Road to Italy: The Hubcap Ranch, the Napa Valley, and Italian American Identity 1.7 Felice Ceparano, The Gigli of Nola Festival in the Nineteenth Century 1.8 Kenneth Scambray, California and the Italian Immigrant Experience: The Artistic and Literary Contexts of Simon Rodia's Watts Towers 1.9 Luisa Del Giudice, Sabato Rodia's Towers in Watts: Art, Migration, and Italian Imaginaries 1.10 Joseph Sciorra, "Why a Man Makes the Shoes?": Italian American Art and Philosophy in Sabato Rodia's Watts Towers 1.11 George Epolito, Parallel Expression: Revealing the Artistic Contributions of Italian Immigrants in South America During the Era of Simon Rodia 2. The Watts Towers Contested: Conservation, Guardianship, and Cultural Heritage 2.1 Jeanne Morgan, CSRTW- Committee for Simon Rodia's Towers in Watts: Fifty Years of Guardianship 2.2 Jeffrey Herr, Simon Rodia's Towers: A Status Report 2.3 Sarah Schrank, Nuestro Pueblo: The Spatial and Cultural Politics of the Los Angeles' Watts Towers 2.4 Monica Barra, Reading the Watts Towers, Teaching Los Angeles: Story Telling and Public Art 2.5 Katia Ballacchino, Spires and Towers Between Tangible, Intangible and Contested Transnational Culture/Heritage 3. The Watts Towers & Community Development 3.1 Artists in Conversation: John Outterbridge, Judson Powell, Charles Dickson, Augustine Aguirre, Betye Saar, Kenzi Shiokawa (Panel moderated by Rosie Lee Hooks, Saturday, October 23, 2010, 121 Dodd Hall, UCLA) 3.2 Gail Brown, From Where I'm Standing Photo-Documentary Workshops at Watts Towers Arts Center: Building Community Through Self-Awareness and Self-Expression 3.3 Shirmel Hayden, The Watts Towers: Simon Rodia Fights Back Afterword Luisa Del Giudice, Personal Reflections on the Watts Towers Common Ground Initiative Appendices Appendix A1 - Conversations with Rodia 1953 - 1964 A.1.1 Interview of S. Rodia, with William Hale and Ray Wisniewsky, Watts, 1953. A.1.2. Interview with Simon Rodia (Excerpts) by William Hale and Ray Wisniewsky, Watts, 1953. A.1.3. Conversation with Sam Rodia, by Mae Babitz and Jeanne Morgan, Martinez, California, September 1960. A.1.4 Interviews, Part A, B, C with S. Rodia, by Ed Farrell, Jody Farrell, Bud Goldstone, Seymour Rosen, Martinez-- University of California, Berkeley-- and San Francisco Museum, California, September 1960. A.1.5 Report on Visits to Simon Rodia to CSRTW, from Jody Farrell (Bud Goldstone, Seymour Rosen, Ed Farrell and Jody Farrell), Martinez and Berkeley, California, October 17, 1961-- and San Francisco Museum of Art, October 19, 1961. A.1.6 Letter to the CSRTW, by Claudio Segre [Segre], Re: Visit with Rodia in Martinez, California, January 25, 1962. A.1.7 "New Yorker Reporter Visits Rodia, " Report to the CSRTW, Re: Interview with Simon Rodia and Relatives, by Calvin Trillin, Nicholas King, Jeanne Morgan, Beniamino Bufano, Martinez, California, August 30, 1964. A.1.8 Conversations with Rodia, Report by Jeanne Morgan, Re: Visits in Martinez, California, May 20, June 15, July 5, August 10, Sept. 10, 1964, and comments on New Yorker visit of Aug. 30, 1964. A.1.10 Last Conversation with Sam Rodia, Report by Jeanne Morgan, Re: Visit in Martinez, California, December 22, 1964. A.1.11 Interview, Part A and B, with S. Rodia, by Norma Ashley-David, Martinez, California, March [1964?]. A.1.12 Interview (Excerpts) with Rodia's Neighbors, Long Beach, California, by Bud Goldstone, 1963. A.4.13 Interview with S. Rodia, by Nicholas King, Martinez, California, September, 1990. Appendix A2 - CSRTW Campaign to Save the Watts Towers A.2.1 Nancie Cavanna Song Score, "Please Don't Tear Down the Towers" A.2.2 Campaign to Save the Watts Towers: Correspondence A.2.3 Miscellaneous Documents.
  • (source: Nielsen Book Data)9780823257973 20160618
Looming silently over the streets of South Central Los Angeles, the magical sculptures called the Watts Towers are one of the treasures of American vernacular art. A collection of seventeen connected structures that center on several towers, one of which a 99-foot high, all made from concrete-encassed iron adorned in found glass, ceramic, and shells, the Towers were made by the hands of Sabato (Sam) Rodia an Italian immigrant who built his dream world over thirty three years. Rodia called them: Nuestro Pueblo (Our Town). Construction worker by day, artist by night, once Rodia finished his masterpiece in 1954, sold the property and never saw his creation again. But the wondrous visionary world he made became one of the most significant works of art and architecture of the last century, a national and international icon, and a powerful symbol of local identity. Yet over half a century later, the enigma of the Watts Towers continues to challenge us: What are they? What do they mean? What drove the artist to build them? This book offers a rich, multi-faceted understanding of the artist, his monument, and the communities his legacy has so deeply affected. Here, historians, folklorists, , literary and film scholars, conservation specialists and other scholars join artists, filmmakers, and community activists to explore the many ways in which Rodia's work has been - and can be - understood. The essays confront the monument's place in contemporary debates about art and migration, in contested urban social spaces, and the links between art and community development. They also expand our understanding of the Watts Towers within the culture and history of the Italian diaspora. And here, also for the first time, long-silent archival materials from the UCLA Special Collections tell the "Watts Towers Narrative" in Rodia's own words as he reflects on his life and work. Today, the Watts Towers serves as "common ground" for the civic reengagement of art and community. This book is an essential resource for anyone wishing to experience the extraordinary legacy of Sabato Rodia: as an inspiring symbol of transformative creativity, of sustained resolve in adversity, and human vision, articulated around the Italian immigrant artist who created them.
(source: Nielsen Book Data)9780823257973 20160618
Art & Architecture Library (Bowes)
ARTHIST-477-01
Book
240 p. : ill. (chiefly col.) ; 29 cm.
  • Acknowledgments
  • Introduction
  • Adolf Wölfli
  • Morris Hirshfield
  • Madge Gill
  • Bill Traylor
  • Aloïse Corbaz
  • Henry Darger
  • Martín Ramírez
  • August Walla
  • Nek Chand
  • Howard Finster
  • Thornton Dial
  • Michel Nedjar
  • Conclusion
  • Bibliography
  • Index
  • Illustration credits.
Visionary art, art brut, art of the insane, naive art, vernacular art, raw visionA" what do all these and many other categories describe? An art made outside the boundaries of official culture, first recognized more than a century ago by German psychiatrists who appreciated the profound artistic expression in the work of institutionalized patients. Promoted by brilliant museum curators like Alfred Barr and artists like Jean Dubuffet, such work became a wellspring of modern and contemporary art. This volume brings together works by twelve of the most influential self-taught artists to emerge during the past century. Each represents a facet of the outsider art phenomenon, from mental patients like Adolf Wolfli and Martin Ramirez, through vernacular masters like Bill Traylor and Thornton Dial, to artists who seem to be in touch with other worlds, such as Madge Gill and Henry Darger. Related artists are featured along with each key figure, allowing a fuller picture to emerge. This book presents a narrative of the history of outsider art, clarifies predominant theoretical issues, and draws comparisons with the modernist tradition. It brings into focus the enormous contributions self-taught artists have made to our understanding of creative genius and presents them in a book that will enthral anyone interested in Outsider Art.
(source: Nielsen Book Data)9783791344904 20160607
Art & Architecture Library (Bowes)
ARTHIST-477-01
Book
xix, 441 p. : ill. (some col.) ; 27 cm.
  • The folk art idea
  • Folk art, ethnology, and antiquarianism
  • Folk art and modern art
  • The decorative and aesthetic uses of folk art
  • Folk art, patriotism, and nationalism.
Art & Architecture Library (Bowes)
ARTHIST-477-01
Book
199 p. : ill. (chiefly col.) ; 29 cm.
Martin Ramirez created nearly 450 drawings of remarkable visual clarity and expressive power while confined in a California mental institution for more than twenty-five years. Diagnosed as schizophrenic, he achieved posthumous fame with recent exhibitions of his works. Eighty important drawings, culled from public and private collections, comprehensively survey his achievement and demonstrate that he was one of the great draftsmen of the twentieth century. The richness of Ramirez's drawings and the depth of historical and cultural influences in his work point to his deep engagement with society. The artist's unique process-employing found items, homemade pigments, matchsticks, and large swaths of paper- is explored, as are his personal experiences of poverty, exile, and confinement. The volume includes recent research about Ramirez's life, family, and art, and features examples from a cache of previously unknown drawings by Ramirez, whose discovery caused a great sensation. This dazzling book displays Ramirez's skill and inventiveness and shows why his work is worthy of its own place in the annals of modern art.
(source: Nielsen Book Data)9783791350486 20160604
Art & Architecture Library (Bowes)
ARTHIST-477-01
Book
xv, 198 p., [32] p. of plates : ill. (some col.) ; 24 cm.
  • Painting a hidden life (1853-1904)
  • "Seem like murder here" (1904-1928)
  • "My heart struck sorrow" (1928-1930)
  • "Breaking through a wall of silence" (1930-1949).
Born into slavery on an Alabama plantation in 1853, Bill Traylor worked as a sharecropper for most of his life. But in 1928 he moved to Montgomery and changed his life, becoming a self-taught lyric painter of extraordinary ability and power. From 1936 to 1946, he sat on a street cornerold, ill, and homelessand created well over 1,200 paintings. Collected and later promoted by Charles Shannon, a young Montgomery artist, his work received star placement in the Corcoran Gallery's 1982 exhibition "Black Folk Art in America." From then on, the spare and powerful "radical modernity" of Traylor's work helped place him among the rising stars of twentieth-century American artists. Most critics and art historians who analyze Traylor's paintings emphasize his extraordinary form and evaluate the content as either simple or enigmatic narratives of black life. In PAINTING A HIDDEN LIFE, historian Mechal Sobel's trenchant analysis reveals a previously unrecognized central core of meaning in Traylor.
(source: Nielsen Book Data)9780807134016 20160527
Art & Architecture Library (Bowes)
ARTHIST-477-01
Book
vii, 392 p. : ill. (chiefly col.) ; 26 cm.
Struck by the beauty of every visible object in a Shaker kitchen they chanced to visit in 1923, young Edward Deming Andrews and his wife, Faith Young Andrews, embarked on a collection that became the passion of their lives. During the following decades, at a time when the art and artefacts of the Shakers were considered "low" art and unworthy of collecting or exhibiting, the Andrewses energetically collected objects, studied sources, and eventually mounted exhibits and published books on Shaker culture.This beautiful book is the first to document their unparalleled collection, presenting some 600 photographs, most never before published. In addition, the book brings to light the extraordinary story of the Andrewses' collecting and scholarship, their relationships with members of the United Society of Believers (commonly called Shakers) and with important New York City art-world figures of the 1930s, as well as their contributions toward the birth of the field of Shaker Studies. More than passionate collectors, Edward and Faith Andrews were intent on saving a distinct culture, and their accomplishment was to preserve for future generations the most comprehensive body of knowledge ever assembled about the Shakers.
(source: Nielsen Book Data)9780300137606 20160528
Art & Architecture Library (Bowes)
ARTHIST-477-01
Book
xv, 251 p. : ill. (chiefly col.), col. map ; 31 cm. + 1 videodisc (4 3/4 in.)
James Castle (1899-1977) never learned to speak, read, or write, nor did he ever leave his native state of Idaho, and yet he created a wide range of extraordinary works that resonate with much of twentieth-century art. This book offers the first critical exploration of the many creative genres of this self-taught artist, who first came to notice in the 1950s and 1960s but has only recently been recognized by major museums.Lavishly illustrated with more than 300 full-colour reproductions and packaged with an original documentary DVD illuminating fascinating aspects of his life and art, this book examines Castle's drawings, colour-wash works, idiosyncratic cardboard and paper constructions, and word, sign, and symbol pieces. As a child he developed his favourite medium and method of working, mixing stove soot with saliva and applying this "ink" with sharpened sticks and cotton wads to such found materials as product packaging and discarded paper. These everyday materials have given his works a singular, immediate, and appealing natural quality.This engaging volume considers Castle's remarkable art from a variety of perspectives, examining his life, modes of depiction, working methods and materials, and the "visual poetry" of his text works.
(source: Nielsen Book Data)9780300137309 20160528
Art & Architecture Library (Bowes)
ARTHIST-477-01
Book
57 p. : ill. (some col.), map ; 28 cm.
Visionary art by an Alabama native who grew to affect the world far beyond his small-town southern roots The work of Roger Brown (1941-1997) - a nationally celebrated artist, innovator of the Chicago "Imagist" movement, and an Alabama native - has been exhibited many times and is held in numerous collections, public and private. However, no view of his life and work is as personal as "Roger Brown: Southern Exposure". Published to coincide with a traveling exhibit originating at the Jule Collins Smith Museum of Fine Art at Auburn University, this volume highlights a very intimate side of Brown's oeuvre: his connection to family and his southern roots. From his early childhood drawings to his homes in Chicago, Michigan, and California, and then his return to Alabama, we witness the talent of a boy turned artist and social critic. The son of a grocer/restaurateur and an artistically inclined housewife, Roger grew up in Opelika watching his father build things, his mother collect cherished mementos, and his younger brother's first endeavors as an artist. Brown's southern heritage remained relevant throughout his career. Brown himself noted that his work was "about" wherever he was at the time, what involved him intellectually, and his personal experiences. Laced with social commentary on politics, religion, and art, Brown inevitably filtered his work through his small-town southern roots, acknowledging the centrality of religious piety, moral obligation, and close-knit family ties. Also evident is Brown's interest in the creations of self-taught artists that he witnessed as a boy and in travels through the south. He found pleasure in seeking out the mundane, the used, and kitsch found in flea markets and thrift shops. These objects of ephemera became both inspiration and elements in his work. The works of art in this exhibition remain timely for their emphasis on the visual rhetoric of location, politics, the art world, and popular culture. They are testaments to the comprehension and visionary talent of an Alabama boy who grew to have an impact the world far beyond his small-town southern roots.
(source: Nielsen Book Data)9780817354695 20160528
Art & Architecture Library (Bowes)
ARTHIST-477-01
Book
207 p. : ill. (some col.), ports. ; 27 cm.
The lives and work of Bill Traylor and William Edmondson share fascinating parallels despite a twenty-year age gap and the fact that they never met. Major figures in American and African-American art history, both were born into poverty in the South and began creating art as older men after working for decades as physical laborers. In 1937 Edmondson was the first African American artist to have a one-man exhibition at the Museum of Modern Art in New York. Traylor, a draftsman, and Edmondson, a sculptor, both created figurative work inspired by their surroundings or people they knew and employed abstract forms and simplified compositions. By considering their art together, this volume examines the aesthetic connections between their works within the framework of modernism. Josef Helfenstein is director of the Menil Collection and Roxanne Stanulis is a former curator, both at the Krannert Art Museum. Contributors include Margaret Lynne Ausfeld, Lisa Gaye Dixon, Kerry James Marshall, Jordana Mendelson, M. Cynthia Oliver, Nichole T. Rustin, and Lowery Stokes Sims.
(source: Nielsen Book Data)9781883015350 20160528
Art & Architecture Library (Bowes)
ARTHIST-477-01
Book
253 p. : ill. (some col.) ; 29 cm.
This beautifully illustrated book commemorates the sixtieth anniversary of the National Gallery of Art's acquisition of the Index of American Design. Widely regarded as one of the New Deal's most important art projects, the Index began in 1935 as a unit of the Works Progress Administration's Federal Art Project. Its aim was to compile and eventually publish a visual archive of American folk, popular, and decorative art from the time of settlement to about 1900. The approximately 1,000 artists involved in the project created more than 18,000 meticulous watercolor portraits of Americana. The book presents 82 of the finest watercolor renderings along with a selection of the artifacts they represent. The original objects range from quilts, weather vanes, and hand-carved toys to carousel animals, stoneware, and cigar-store figures. Three essays explore the history, operation, and ambitions of the Index of American Design, examine folk-art collecting in America during the early decades of the twentieth century, and consider the Index's role in the search for a national cultural identity in the early twentieth-century United States. Drawing on America's Past is the companion publication to an exhibition which runs at the National Gallery of Art in Washington, D.C., 27 November 2002 through 2 March 2003.
(source: Nielsen Book Data)9780807827949 20160528
Art & Architecture Library (Bowes)
ARTHIST-477-01
Book
x, 216 p. : ill. (some col.) ; 26 cm.
This illustrated volume explores the statements of power and ironic invasions encoded in plantation paintings created from the 19th century to the early 20th century. It focuses on oil paintings, but includes consideration of watercolours, drawings, map illustrations, lithographs, and popular prints. Although 19th-century American landscapes typically were painted from a high vantage point, looking down from above, southern landscapes that featured plantations diverged from this convention in telling ways. Portraits of planters' landholdings were often depicted from a point below the plantation house, a perspective that directs the viewers' gaze upwards and, as John Vlach observes, echoes the deference and respect the planter class assumed was its due. Moreover, Vlach notes, slaves were rarely represented in plantation paintings made before the Civil War. After the war and the abolition of slavery, he argues, a wistful revisionism seems to have restored slaves - still toiling in the service of the masters - to the landscapes they had created and on which they were so cruelly mistreated. At the heart of this volume are six artists - Francis Guy, Charles Fraser, Adrien Persac, Currier & Ives chief artist Fanny Palmer, William Aiken Walker, and Alice Ravenel Huger Smith - whose collective body of work spans the period between 1800 and 1935 and documents plantations across the South, from Maryland to Louisiana.
(source: Nielsen Book Data)9780807853528 20160528
Art & Architecture Library (Bowes)
ARTHIST-477-01
Book
175 p. : ill. (chiefly col.), ports. (some col.) ; 32 cm.
  • Foreword / Michael E. Shapiro
  • Remembering the road : T. Marshall Hahn and the High Museum of Art / Lynne E. Spriggs
  • New geography : mapping meaning in self-taught art from the South / Joanne Cubbs
  • From the Sahara of the Bozart to The shoe that rode the howling tornado : collecting folk art in the South / Lynda Roscoe Hartigan
  • Catalogue / Susan Mitchell Crawley
  • Checklist of the T. Marshall Hahn Collection
  • Artists' biographies / Susan Mitchell Crawley.
This collection highlights works by African-American artists whose vernacular expressions revolutionised the field of twentieth-century self-taught art. Today, the Hahn Collection comprises over 140 paintings, works on paper, and sculptures created by more than forty artists, including Ned Cartledge, Thomton Dial, Sam Doyle, Howard Finster, William Hawkins, Mattie Lou O'Kelley, Elijah Pierce, Nellie Mae Rowe, and Bill Traylor, all of whom are represented in depth.
(source: Nielsen Book Data)9781578063635 20160528
Art & Architecture Library (Bowes)
ARTHIST-477-01
Book
192 p. : ill. (some col.) ; 27 cm.
Art & Architecture Library (Bowes)
ARTHIST-477-01
Book
x, 353 p., [8] p. of plates : ill. (some col.), maps ; 26 cm.
This volume presents a chronicle of folk art's ascendancy in the late 20th century, including the opinions of those involved in the folk art scene of the time. Interviews with collectors and dealers are included, as well as museum and auction house officials, and Tolson's own family and friends.
(source: Nielsen Book Data)9780807847008 20160528
Art & Architecture Library (Bowes)
ARTHIST-477-01
Book
120 p. : ill. (some col.) ; 25 x 27 cm.
Art & Architecture Library (Bowes)
ARTHIST-477-01