Daniel Belasco – författare

Celebrates the first exhibition devoted to the finely crafted and researched costumes, objects, and drawings that Mary Reid Kelley creates for her visually and intellectually stimulating videos made in collaboration with Patrick Kelley.Mary Reid Kelley celebrates the first museum exhibition devoted to the finely crafted and researched costumes, objects, and drawings that Mary Reid Kelley creates for her visually and intellectually stimulating videos. An essay by curator Daniel Belasco analyzes the sources and significance of the working objects in how they promote the "unreality effect" of Mary Reid Kelley's videos, which combine both the analog and digital and the personal and historical. A conversation between Corinna Ripps Schaming and Mary Reid Kelley and her long-time collaborator Patrick Kelley reveals insights into their working process. For the first time, the full range of the artist's costumes, props, drawings, furniture, and accessories are photographed and presented as unique works of art.

Redefines McEntee's place in the history of nineteenth-century American landscape painting.Jervis McEntee presents new scholarship and color reproductions that redefine McEntee's place in the history of nineteenth-century American landscape painting. The lead essay by exhibition curator Lee A. Vedder makes the case that McEntee was far more than a painter of somber late fall landscapes. He set his own course, absorbing influences of his fellow Hudson River school painters including Frederic Church, Sanford Gifford, and Asher B. Durand, while also responding to the atmospheric painting of J. M. W. Turner, the trauma of the Civil War, and the shifts in American tastes to French Barbizon painting and Impressionism. Additional essays expand the scope of McEntee scholarship. Kerry Dean Carso presents the influence of the landscape and industrial development of Rondout (later Kingston), New York, McEntee's native city. David Schuyler reappraises the art and career of this fascinating artist, who played such a pivotal role in the art and culture of his day. The catalogue also includes reprints of key texts from the rare memorial publication Jervis McEntee: American Landscape Painter (1892).

Published in conjunction with a major exhibition, Lichtenstein Remembered, at Gagosian New York, this lavishly illustrated catalog features new essays by Daniel Belasco, Adam Gopnik, and Steve Martin, as well as a conversation between Irving Blum and Dorothy Lichtenstein.Lichtenstein Remembered accompanies a 2023 exhibition, curated by Irving Blum on the centennial of the artist’s birth, of twenty-two sculptures and twenty-eight works on paper at Gagosian New York. The sculptures, of some of Lichtenstein’s most iconic images—including explosions, mobiles, mirrors, lamps, glasses, and profiles—were made between 1965 and 1996, spanning all periods of his career. They are shown together with the drawings, studies, sketches, and collages created in preparation for and alongside them, testifying to the remarkable depth and medium-subverting wit of Lichtenstein’s practice.The catalogue includes new plate photography, including details, of the forty exhibited works, as well as historical, documentary photos of the artist, his studio space, and his artwork.Roy Lichtenstein was born in 1923 in New York and died in 1997 in New York. A retrospective of his work will open at the Whitney Museum of American Art, New York, in 2026.Since 1998, Gagosian has presented thirteen major solo exhibitions of Lichtenstein’s work in the United States, Europe, and Asia.New, illustrated essays by art historian Daniel Belasco and critic Adam Gopnik provide historical and interpretive context for the work. An introduction by Steve Martin offers a poignant reflection on his time with Lichtenstein and Blum, while a conversation between Blum and Dorothy Lichtenstein—held on the occasion of this exhibition—further illuminates their rich shared history.

In Women Artists in Midcentury America, readers embark on a two-decade-long exploration into evolving social and artistic landscapes through all-women exhibitions. These groundbreaking projects courageously confronted issues of sexual and racial discrimination, igniting profound discussions about women’s roles within modernism and democracy. Looking closely at the inception and reception of these exhibitions by curators, artists, critics and the public, Daniel Belasco sheds light on the remarkable contributions of numerous artists, from Ruth Asawa to Marguerite Zorach. By foregrounding the accomplishments of women artists during a conservative period later overshadowed by the feminist movement, Belasco provides a fresh perspective on the complex history of women’s art in America and its significance in the broader art world.

The first scholarly exhibition catalogue of the work of Eugene Speicher (1883-1962), one of the foremost American realists of his generation, who was closely associated with George Bellows, Robert Henri, Leon Kroll, and Rockwell Kent.Called "America's greatest living painter" by Esquire magazine in 1936, Speicher (1883–1962) was one of the foremost realists of his generation, closely associated with George Bellows, Robert Henri, and Leon Kroll. The exhibition catalogue examines Speicher's oeuvre, including his artistic development, subject matter, choice of models, influences, and the critical reception of his work. The catalogue contains three essays. The primary essay by curator Valerie Ann Leeds consists of a general assessment and critical review of Speicher's career and his place in the art world of his day. Another essay authored by Tom Wolf explores Speicher and his relationship to Woodstock. A third essay, by Daniel Belasco, surveys Speicher's drawings. The catalogue is the first to present a significant body of Speicher's work in color.

Redefines McEntee's place in the history of nineteenth-century American landscape painting.Jervis McEntee presents new scholarship and color reproductions that redefine McEntee's place in the history of nineteenth-century American landscape painting. The lead essay by exhibition curator Lee A. Vedder makes the case that McEntee was far more than a painter of somber late fall landscapes. He set his own course, absorbing influences of his fellow Hudson River school painters including Frederic Church, Sanford Gifford, and Asher B. Durand, while also responding to the atmospheric painting of J. M. W. Turner, the trauma of the Civil War, and the shifts in American tastes to French Barbizon painting and Impressionism. Additional essays expand the scope of McEntee scholarship. Kerry Dean Carso presents the influence of the landscape and industrial development of Rondout (later Kingston), New York, McEntee's native city. David Schuyler reappraises the art and career of this fascinating artist, who played such a pivotal role in the art and culture of his day. The catalogue also includes reprints of key texts from the rare memorial publication Jervis McEntee: American Landscape Painter (1892).