Abigail Winograd – författare

This long-awaited volume celebrates the work of Kerry James Marshall, one of America's greatest living painters. Born before the passage of the Civil Rights Act, in Birmingham, Alabama, and witness to the Watts riots in 1965, Marshall has long been an inspired and imaginative chronicler of the African American experience. Best known for large-scale interiors, landscapes, and portraits featuring powerful black figures, Marshall explores narratives of African American history from slave ships to the present and draws upon his deep knowledge of art history from the Renaissance to twentieth-century abstraction, as well as other sources such as the comic book and the muralist tradition. With luscious color and brushstrokes and highly detailed patterning, his direct and intimate scenes of black middle-class life conjure a wide range of emotions, resulting in powerful paintings that confront the position of African Americans throughout American history.Richly illustrated, this monumental book features essays by noted curators as well as the artist, and more than 100 paintings from throughout the artist's career arranged thematically by subject: history painting; beauty, as expressed through the nude, portraiture, and self-portraiture; landscape; religion; and the politics of black nationalism.

MacArthur Fellows including Jeffrey Gibson, Kara Walker and more collaborate with and create art in Chicago’s urban spacesPublished with MacArthur Foundation.This publication examines the development and reception of Toward Common Cause: Art, Social Change, and the MacArthur Fellows Program at 40 (TCC), a citywide project in Chicago that included the work of 29 artists installed at 19 venues throughout the city. The volume commemorates the widely discussed exhibition, which sought to underscore art’s power to catalyze change and to unleash the imagination on pressing social challenges, including environmental justice, public health crises, economic inequality and others.Art in Pursuit of Common Cause seeks to document the ideas, roadblocks, rewards and questions that were raised during the planning, exhibitions and aftermath of the citywide exhibition. An attempt has been made to include content rarely seen in the traditional exhibition catalog, to analyze and amplify the voices of actual visitors and to place the project’s learnings in the context of the shifting ground of museum practice.

Vibrant and immersive installations from the first Indigenous artist to represent the US with a solo exhibition at the Venice BiennalePublished with Portland Art Museum, SITE Santa Fe, BIG NDN PRESS, and Bard Center for Indigenous Studies.This lush, comprehensive volume celebrates Jeffrey Gibson’s US Pavilion exhibition at the 60th Venice Biennale. The text and visuals braid together important strands that shaped the installation, public programming and performances, highlighting the themes of inclusivity, community, dignity and tradition.Framed by the pavilion and its activations, this volume unites innovative scholarship and criticism in original essays and in themes which emerged from the Institute of American Indian Arts’ Venice Indigenous Arts School and the Bard Center for Indigenous Studies convening, all interrogating diverse topics and using Gibson’s art and practice as their point of departure. Leading curators and critics engage with global exchanges and relationships emerging from Indigenous arts, intellectual and aesthetic traditions across Indigenous traditions, formal color study, as well as the complex, varied and rich references in Gibson’s work. Featuring spectacular photography, including behind-the-scenes studio shots, and poetic and performance interventions, this inventive and informative publication is a necessary companion to any collection on Gibson, contemporary art and Indigenous aesthetics.Jeffrey Gibson (born 1972) is an interdisciplinary artist and a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. He attended the School of the Art Institute of Chicago in 1995 and received a master of arts in painting at the Royal College of Art, London, in 1998. Gibson conceived and coedited the landmark volume An Indigenous Present (2023), which showcases diverse approaches to Indigenous concepts, forms and mediums. His work is included in the permanent collections of the Museum of Modern Art, New York; National Gallery of Canada; Smithsonian National Museum of the American Indian; and Whitney Museum of American Art, among others. Gibson is based in Hudson, NY and is currently an artist-in-residence at Bard College.

The Other Transatlantic is attuned to the brief but historically significant moment in the postwar period between 1950 and 1970 when the trajectories of the Central and Eastern European art scenes on the one hand, and their Latin American counterparts on the other, converged in a shared enthusiasm for Kinetic and Op Art. As the axis connecting the established power centers of Paris, London, and New York became increasingly dominated by monolithic trends including Pop, minimalism, and conceptualism another web of ideas was being spun linking the hubs of Warsaw, Budapest, Zagreb, Buenos Aires, Caracas, and Sao Paulo. These artistic practices were dedicated to what appeared to be an entirely different set of aesthetic concerns: philosophies of art and culture dominated by notions of progress and science, the machine and engineering, construction and perception. This book presents a highly illustrated introduction to this significant transnational phenomenon in the visual arts.