Barbara Rose – författare

Tsuda Umeko was one of five young Japanese girls sent to the United States in 1871 by their government to be trained in the lore of domesticity. The new Meiji rulers defined a "true woman" as one who had learned to rear children who would be loyal and obedient to the state, and they looked to the "superior culture" of the West as the place to obtain such training. Eleven years later, Tsuda returned to Japan and presented herself as an authority on female education and women's roles. After some frustration and another trip to America to attend Bryn Mawr College, she established one of the first schools in Japan to offer middle-class women a higher education. This readable biography sets her life and achievements in the context of the women's movements and the ideology of female domesticity in American and Japan at the turn of the century.  Barbara Rose presents Tsuda Umeko's experiences as illustrative of the profound contradictions and ironies behind Japan's changing views of women and the West. Tsuda was sent abroad to absorb what could be of benefit to Japanese women, but she was denied any official distinction on her return to Japan both because she was female and because the Western culture she had adopted was no longer in favor. In Japan, Tsuda had to adapt to the increasingly narrow confines of the official definition of the domestic ideal as the only proper role for women. By characterizing women's work in the home as a vocation and by expanding women's educational horizons, Tsuda and others of her generation hoped to enhance women's self-respect and gain for them a measure of independence. But domesticity, though empowering, was finally limiting; it restricted women to a life within the imposed boundaries of a single sphere of action.

Ad Reinhardt is probably best known for his black paintings, which aroused as much controversy as admiration in the American art world when they were first exhibited in the 1950s. Although his ideas about art and life were often at odds with those of his contemporaries, they prefigured the ascendance of minimalism. Reinhardt's interest in the Orient and in religion, his strong convictions about the value of abstraction, and his disgust with the commercialism of the art world are as fresh and valid today as they were when he first expressed them.

Documents the Samuel Dorsky Museum of Art's exhibition of work by Guyana-born contemporary artist Andrew Lyght and provides new scholarship contextualizing Lyght's work within the history and culture of Guyana and modern art.This is a venture into the departures, encounters, discoveries, and transgressions that inform Andrew Lyght's artistic practice and life. While living and working for decades in various cultural contexts such as Guyana, Canada, and the United States, Lyght has pursued an extensive inquiry into the mechanics of art making. Curated by Tumelo Mosaka, Andrew Lyght: Full Circle is the artist's first museum exhibition since he moved to Kingston, New York in 2006. Best known for his flexible and volumetric forms, vibrant paintings, and abstract linear drawings, Lyght creates a wide range of works that analyze the structural properties of painting and reanimate pictorial space as an open system. Over the many years he has developed an art form that explores the built environment as a dynamic pictorial subject, introducing new ways of seeing the world around us.

Larry Poons (b. 1937) shot to fame while still in his twenties, on the strength of his “dot paintings,” in which dots or ellipses were meticulously arranged on brightly coloured fields, creating a rhythmic, pulsating effect. But within a few years, Poons first loosened the hard-edged precision of the dot paintings and then abandoned them entirely for an organic mode of abstraction based on vertical drips of flung paint. This marked the beginning of an uncompromising five-decade evolution that has finally led the artist back to a more intimate mode of painting with brushes — and his own hands. At every stage, Poons's career has compelled the attention of critics and, in particular, other artists.This handsome volume, the first full-length biocritical monograph on Poons, reproduces more than 140 of his most important works in full colour, some as spectacular gatefolds. The incisive text — a collaboration between four leading critics and historians — traces the development of the artist’s extraordinary career. Larry Poons is a necessary addition to the library of anyone with an interest in American art.