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American artist Alfred Jacob Miller (1810–1874) joined Sir William Drummond Stewart, a Scottish nobleman and adventurer, to chronicle a journey in 1837 to the Rocky Mountains to attend an annual gathering of fur traders. Miller became the first, and perhaps only, artist to paint the legendary fur trade from firsthand knowledge. Thereafter, Miller based his art on the rich experiences from that trip.Romancing the West presents thirty captivating works on paper, spanning the subjects and techniques that the artist developed over more than thirty years. Mainly studio works in various stages of completion and in a sometimes unorthodox fusion of media, they provide a window onto not only how Miller worked, but how he envisioned the American West.

This iteration of the American Encounters series addresses artists’ conceptions of political and military authority through portraiture during and after North American and European revolutionary upheavals in the late eighteenth and early nineteenth centuries. The works discussed demonstrate shifting ideals of leadership through examination of artistic style, from restrained Neoclassicism to dynamic Romanticism, as well as the iconography of martial and civilian power. The publication also explores the proliferation and replication of images of leaders, particularly George Washington, as well as the demand for the revolutionary hero and first president’s likeness in France. Catalogue essays elucidate the reasons for the transmission of portraits of Washington across the Atlantic in the context of artistic, political, and military exchange between the two countries. Contributions also delve into issues of colonial, post-colonial, and post-revolutionary identity, investigating the ability of artists to navigate oscillating national, social, and cultural boundaries.

When justice is at stake, artists have spearheaded challenging conversations. The work in this book bears witness to stories that challenge dominant paradigms. Among the 50 artists represented here are Carlos Amorales, Loretta Bennett, Mark Bradford, Willie Cole, Abraham Cruzvillegas, Ellen Gallagher, Glenn Ligon, Julie Mehretu and Wangechi Mutu.

Still life celebrates the commonplace. But in these simple objects we invest meaning—meaning that can be culturally specific but also universal. From the seventeenth century onward in Europe, a shared visual language developed around the practice of still life painting. In early nineteenth century America, artists adapted established formats to suit new circumstances. Drawing examples from three American and one French museum, this catalogue traces the development of American still life painting and its European precedents. American Enounters: The Simple Pleasures of Still Life is the final installment of the series, a collaborative project between Crystal Bridges Museum of American Art, Musée du Louvre, the High Museum of Art, and the Terra Foundation for American Art investigating four key genres in nineteenth century American art: landscape, genre, portraiture, and still life.

Artists Joey Kirkpatrick and Flora C. Mace began collaborating at Pilchuck Glass School in 1979 and went on to become pioneers of style and technique in the art glass world. The innovation, scale, and complexity of their work firmly established their place alongside other major glass artists, and their work is included in many museum collections around the world. Despite this, Kirkpatrick and Mace have not been afforded a scholarly review of their careers, which now span more than thirty years. Throughout their productive careers, Kirkpatrick and Mace have consistently explored seminal themes: principles of “drawing” as incorporated into glass, the metaphoric content of our relationship to nature, and the appropriation of materials to support a visual idea. This book will bring the depth and richness of these themes into comprehensive focus.

In this collection of essays, five previously published and three new in this volume, a western historian of Chinese art examines the received ideas of art history from the vantage point of another culture. On the premise that what we feel a need to explain and how we explain it alike depend on what we assume to be normal, the essays all adopt a comparative approach. Whatever body of material is taken as case study—Gothic churches, Egyptian reliefs, Chinese bronzes, Insular gospel manuscripts—the problems addressed are of broad general relevance to the discipline. They include the nature of art history’s styles and periods, iconography as explanation, the rationale for art historical description, technical studies and the artistic imagination, and histories of representation. Clear and accessible, this book will interest anyone concerned with the conduct of art historical scholarship and the origins and consequences of its practices.

The Chrysler Museum of Art in Norfolk, Virginia, is renowned for its encyclopedic collection of glass with more than ten thousand glass objects spanning nearly three thousand years. Distinguished in the areas of nineteenth-century American, French, and English glass, including important works by Louis C. Tiffany, the Museum has recently made noteworthy acquisitions from the twentieth and twenty-first centuries.Glass: Masterworks from the Chrysler Museum of Art features seventy-five exceptional works from the collection and includes a history of glass at the Museum, from its founding in 1933 to the present. Lavishly illustrated, each work of art is accompanied by a detailed scholarly entry that explores the object’s significance and broader historical context.

The Unknown Blakelock offers new perspectives on Ralph A. Blakelock (1847–1919) by addressing the modernity of his accomplishments as reflected in the exhibition's paintings. A self-taught artist, Blakelock digressed from habitual procedures into stylistic experiments that were considerably in advance of common practice of the time. Associated primarily with the two dominant themes of moonlight views and Indian encampments, Blakelock was already acknowledged as a colorist during his career, an aspect of his painting attesting to his receptivity to modernist developments but largely overlooked in critical discourse. The works featured in this exhibition also attest to a salient characteristic of our own time, namely, the artist's growing autonomy. The Unknown Blakelock explores this ongoing impact of Blakelock's work, which has previously been placed in the context of the exploration of his own—not our—contemporaries.The Unknown Blakelock is a catalog of the exhibition of lesser-known works of Blakelock held at the Sheldon Museum of Art at the University of Nebraska–Lincoln, from January 25 to August 24, 2008, and at the National Academy Museum and School of Fine Arts in New York City, from September 25, 2008, to January 4, 2009.

The Stroemple Collection boasts more than five hundred vintage Venetian vessels that illustrate the height of Venetian glassblowing during the eighteenth and nineteenth centuries. In 2012, George Stroemple commissioned James Mongrain—Dale Chihuly’s current gaffer and an exceptional glass artist—to make a series of ten vessels to replicate major examples of vintage Venetian glass in the Stroemple Collection. The finished pieces exemplify Mongrain’s extraordinary ability to re-create traditional Venetian mastery in glass.Since then, the Stroemple Collection has commissioned Mongrain to make more series, all based on the historic works in the Stroemple Collection. For these, Mongrain uses traditional techniques and imagery to reimagine the Venetian style, working on a large scale to create monumental and sculptural pieces that reference tradition but are firmly within contemporary glassmaking. This book documents each of the James Mongrain commissions and will also include various examples of historic Venetian glass that inspired Mongrain in the making of these series.

The art of Paul Havas (1940–2012) is one of natural beauty, formal control, and unusual colors. Havas settled in the Puget Sound region in 1965 and went on to create a body of work dominated by oil paintings and drawings of landscapes and cityscapes, attracting admiring critical attention and considerable acquisitions by important museums. This book draws on Havas’s archive of writings, letters, and documentary photographs, as well as accounts and interviews with critics, curators, fellow artists, and friends to set the artist in a perspective of Pacific Northwest and American art history. The result is a lively tale of flyfishing, rural cabins, sophisticated city life, and doggedly consistent work habits in studios in Seattle and the Skagit Valley. Quiet yet friendly, like his appealing paintings, Paul Havas is revealed as thoughtful and witty, with serious ideas about art, culture, and his own position in contemporary art. Readers are sure to enjoy this lavishly illustrated volume with extensive color plates, useful contextual images, and historical documentary photographs.

Traversing Parallels explores the work and life of American glass artist Michael Taylor, who has enjoyed a prominent career in the art glass world since 1967. The book focuses on work made from 2005 through 2017, exploring the conceptual progression of Taylor’s work during this time and scrutinizing his notion of sociopolitical awareness and the responsibility of all artists to use their gifts to speak on social perspective. His cut and laminated glass constructions celebrate the progress of human ingenuity while also considering the wider implications of our impact on the world. Taylor himself provides autobiographical texts throughout the book, recounting his many years as a teacher of glass as well as his own education and evolution as an artist. With an exciting design and a wealth of images, this monograph makes a welcome addition to the history of contemporary American art glass.

Michael C. Spafford, one of the most respected and admired painters in the Northwest, has created a cohesive body of work of rare intelligence and power. Now professor emeritus at the University of Washington School of Art, he began teaching in 1963 and was an influential and provocative teacher. Spafford remains an active painter who has never shied away from bold, often brutal universal themes. The rigorous physicality and formal invention inherent in his work enhance the viewer’s visual understanding as well as the potency of the image.Widely exhibited, awarded, and collected, Spafford is best known for his fascination with myths of origin and heroic endeavor. His paintings, drawings, prints, and murals depict vivid episodes from epic poems and Greco-Roman mythology: “Leda and the Swan,” The Iliad and The Odyssey, “The Twelve Labors of Heracles,” to mention a few. Many of these narratives were revisited by Spafford over time in different formats in search of a better visual vignette. He strips these well-known narratives to their most emblematic elements, depicting them in a radically abstracted form, which illuminates these stories in a direct and visually affecting way. This book, the first monograph devoted to the artist, seeks to glimpse the breadth of Spafford’s explorations.

A deluxe, large-format publication of French poet Stéphane Mallarmé’s most influential workAmong the most influential works of the French poet Stéphane Mallarmé (1842–98), Un Coup de dés jamais n'abolira le Hasard feels to this day revolutionary and resoundingly contemporary, both for the suggestive power of its unconventional free verse and for its striking visual impact. For the poet, the white spaces, or scattered "silences," are as integral to the reading as the words on the page, and the very design—the typographical layers and the arrangement of lines and words upon the page and across spreads—carries meaning and content.At the time of his death in 1898, Mallarmé was close to realizing his vision of a deluxe, large-format publication of the poem that would meet his precise specifications with regard to dimensions, typography and page design, and would include commissioned lithographs by his friend Odilon Redon, an artist he admired for the tonal richness and symbolic power of his images.This two-volume edition brings all of these elements together for the first time in an English-language edition. Separate French and English volumes allow for individual readings of the original poem and this fresh new translation (A Blow of Dice Never Will Abolish Chance), each produced at full scale, meticulously typeset and accompanied by Redon's evocative illustrations.

Colombian-born painter Fanny Sanin (born 1938) has dedicated a long, prolific career to the exploration of geometric abstraction; her oeuvre is characterized by large-scale canvases depicting hard-edge geometric compositions in vibrant color configurations. Over the past five decades, Sanin has exhibited widely, mainly in Latin America and the United States (where she has lived since the 1970s, in New York), positioning herself as one of Latin America's most extraordinary colorists.This publication is a long-overdue comprehensive monograph on this pioneering painter. Featuring contributions from prominent academics and curators such as Beverly Adams, Jay Oles and Edward J. Sullivan, the book contextualizes Sanin's work within international geometric abstraction and offers a glimpse into the artist's rigorous working process. It surveys her entire career, from her energetic abstractions of the 1960s through the evolution and continual refinement of her ongoing commitment to concrete abstraction.

This handsome volume is the newest publication on the artwork of Tallur L.N. (born 1971), featuring works from the last 13 years.Using a range of media including found objects, appropriated industrial machines, carved stone and wood, cast bronze, and works embedded in concrete and studded with coins, Tallur questions the value we assign to money, icons and artifacts. Building on the rich sculptural traditions of India, he references ancient religious and patriotic iconography, and often invites the viewer to become a participant through his interactive works.Among the works documented here are two new site-specific installations and a new video work, Interference; (2019). The publication includes scholarly essays by art historian Chaitanya Sambrani and curator Gary Garrido Schneider, and presents new information on the art and politics of this important 21st-century artist.

This book invites readers to step inside the mesmerizing world of San Francisco-based Iranian fashion designer Lily Samii. From her upbringing in Iran to the runways of Paris, Lily Samii: Fifty Years of Fashion; takes readers on a fascinating journey through Lily Samii's incredible life. We learn about her magnificent life in Iran and her secret obsession with fabrics, nature and movement as a young child; we travel with her across the globe and peek into the glamorous world of Hollywood and costume design where she was trained by Edith Head and James Galanos; and we join Samii as she opens her iconic Bay Area boutique, LYZ, that was the talk of the town for 30 years, recognized by national fashion magazines including Harper's Bazaar;, Vogue; and Women's Wear Daily;. From LYZ, Lily launched her career as a couture designer with gowns and outfits for celebrities and influential women in politics, society, philanthropy and the arts.

These photographic diptychs of LGBTQ+ people in America express the acute vulnerability of coming outFrom 2011 to 2015, Brooklyn-based photographer Ash Kolodner (born 1987) traveled across the United States photographing hundreds of LGBTQ+ individuals of all ages. They made two consecutive portraits of each of their subjects, photographing them twice during the same sitting: once with eyes closed and then with eyes open. These diptychs symbolize the vulnerability many have felt at the outset of discovering their personal identities, and then the realization and self-actualization manifest in the intimate and profound process of coming out.Through more than 180 color portraits, along with subject interviews and contributing texts by filmmaker Kimberly Peirce and Tony award-winning producer Jordan Roth, and icon and performer, RuPaul, Gayface reflects the beauty, intimacy and sometimes the pain of a community kept in the shadows for decades. Ultimately these pictures and this handsome volume represent a revelatory statement on the profound humanity we all share.Ash Kolodner was born in Washington, DC, and holds a BFA in commercial photography from the Brooks Institute of Photography in Santa Barbara and an MFA in photography from Pratt Institute in Brooklyn. Their first major project, GAYFACE 1st Class, in 2013, is a series of more than 500 portraits of lesbian, gay, bisexual and transgender individuals living in America. Their follow-up series, Showing Face, was exhibited across Philadelphia’s subway stations and billboards in 2016 as part of the Philadelphia Mural Arts program. As a commercial photographer, they have photographed artists and musicians including Nas, Damien Marley, Mayer Hawthorne and Nipsey Hustle. Kolodner's work, which ranges from photography to drawing to sculptural installations, has been featured in numerous magazines, newspapers, galleries and group shows, including Miami Beach Art Basel, Toronto Fashion Week, Philadelphia’s Mural Arts Project, Huffington Post, Curve magazine and Photographer’s Forum.

Sanford Schwartz explores the trailblazing career of 19th-century Quaker folk artist Edward HicksEdward Hicks (1780–1849) was the creator of one of the most familiar scenes in American art: the Peaceable Kingdom, which depicts a realm where wild and flesh-eating animals come together with defenseless creatures, and will not harm them. Because Hicks was a Quaker minister, his many renderings of the scene have been taken as largely a self-taught artist’s professions of Quaker pacifism.But here, author and curator Sanford Schwartz, in a wide-ranging study that for the first time looks at Hicks as an imaginative artist as well as a minister, shows how the Peaceable Kingdom paintings—there are some 60 examples, made over 30 years—tell a richer story. In Schwartz’s hands, Hicks emerges as a person and a painter who hardly seems to be of the past. We spend time with this passionate, vehement figure who was also empathic and ardently connected to his wide community. And we see how the Kingdom series, though labeled folk art, share much with the work of mainstream artists of the time and even with work we now call outsider art.

“Engravings for the people”: a fresh appraisal of the printmakers Currier & Ives and their vision of AmericaCurrier & Ives was a powerhouse of 19th-century publishing and had an immeasurable influence on American visual culture. Founded in New York in 1834 by Nathaniel Currier, the company expanded to include a new partner, James Merritt Ives, after 1857. Currier & Ives produced millions of affordably priced copies of over 7,000 original lithographs, living up to its self-appointed title as “The Grand Central Depot for Cheap and Popular Prints.” The firm took advantage of New York City’s booming arts culture in the latter half of the 19th century, but its output was not seen as fine art by critics, nor was it intended as such. Its prints were first and foremost commodities; the choice subjects often determined by popularity and sales figures. Currier & Ives perpetuated Victorian ideals in its depictions of family, history, politics and urban and suburban life. But these prints also served as an important record of a nation in the midst of an extraordinary transformation from a rural and agricultural landscape to an industrialized and urbanized global power. Along with their popular appeal, Currier & Ives’s images offer a new opportunity to uncover the complexities and contradictions of our history and help shape our understanding of America’s past.

A new edition of an exquisitely crafted homage to the Massachusetts coastIn this new edition of Between Land and Sea: The Great Marsh (first published by Braziller in 2007), the award-winning, Ipswich, MA–based landscape photographer Dorothy Kerper Monnelly conveys the surprising, ever-changing drama of the vast tidal wetlands known as the Great Marsh.For over 40 years, Monnelly has come to know this region intimately, one of the last unspoiled wilderness areas in the urban Northeast. Her timeless, visionary photographs are joined in this edition by an essay from acclaimed author Terry Tempest Williams reflecting on our relationship to liminal spaces like the marsh.Although salt marshes are among the most productive ecosystems on earth, these wetlands are threatened throughout the world by human activity and have disappeared from much of the American seacoast. The Great Marsh, despite threats from development, pollution, and now rising seas, is a pristine remnant of this ancient coastal environment.

A survey of the acclaimed Omaha museum’s collection of European artThe collection of European art at Joslyn Art Museum includes masterworks by Titian, Paolo Veronese, Claude Lorrain, Rembrandt van Rijn, Gustave Courbet, Edgar Degas, Claude Monet and Camille Pissarro, as well as a significant group of 19th-century French academic paintings, with major examples by Jules Breton, William-Adolphe Bouguereau and Jean-Léon Gérôme. European Paintings and Sculpture from Joslyn Art Museum provides a richly illustrated catalog of 100 European artworks in the museum, presented chronologically from the late 13th to the early 20th century. Noted scholars and specialists in the field examine these works while considering artist biography, practice and technique, and cultural and historical contexts. An introductory essay offers an engaging history of the arts in Omaha and the formation of the museum’s European collection.

Brash, brilliant and funny, the Chicago Imagists—from the Hairy Who and Nonplussed Some to False Image and Marriage Chicago Style—receive a full appraisal in this electrifying volumeThis amply illustrated catalog surveys the work of the group of artists known as the Chicago Imagists, who exhibited together in the late 1960s, and whose influence continues to spread 50 years later. Drawing from a collection of rarely seen works, the book presents work from the 17 artists who comprise the original Imagist exhibition groups—the Hairy Who, Nonplussed Some, False Image and Marriage Chicago Style—as well as a number of independent Chicago artists. These artists and their historic work, which is brash, brilliant and often humorous, have seen increased attention over the last decade. Scholars, collectors and younger artists have been magnetized by the paintings of Jim Nutt, Christina Ramberg, Roger Brown, Gladys Nilsson and Karl Wirsum, but there are few large-scale, high-quality books documenting their work.In addition to a reprint of an important and little-known piece by Dennis Adrian, the book features original essays that provide a big-picture view of the vibrant Chicago art ecosystem and explore the relationship between Imagism and abstraction and between historical Imagist art and its offspring. Also included are an interview with the collectors, biographical “snapshots” of seven key artists and a timeline plotting major works in the collection against important historical events in the art world. With this comprehensive range of material, Private Eye: The Imagist Impulse in Chicago Art adds substantively to the topic’s scholarship.

Surveying the American artist’s multimedia works on paper from 1964 to the presentAmerican artist Louise Fishman’s (born 1939) physical and process-driven work reimagines the Abstract Expressionist model into a vehicle for dialogue about history and emotion centered in the artist’s identities as Jewish, feminist and lesbian. Though she is primarily a painter, Fishman has worked with a number of different mediums to create works on paper since the early 1960s. A Question of Emphasis presents a vast selection of these works in a single volume, encompassing collage, oil and wax, thread, acrylic text, ink, charcoal, printmaking, oil stick, watercolor and tempera. Fishman conceives of her works on paper not as studies for later paintings but as discrete pieces of art, generally small- and medium-scale and frequently sculptural and tactile. New writing as well as an interview between Fishman and artist Ulrike Müller accompany a wide selection of works.

Recent multimedia projects by Simon Starling on hidden histories and unlikely connectionsPublished for British artist Simon Starling’s (born 1967) exhibition at the Rennie Collection in Vancouver, this volume presents a selection of the artist’s multimedia, research-based art from the last decade, contextualized by new essays.

Matson’s fabric works unite painterly abstraction, digital technology and textile tactilityWorking within a renewed interest in craft practices, Los Angeles–based artist Christy Matson (born 1979) creates woven pictures that explore memory and imagination through the layered history of textile production, while advocating for issues surrounding sustainability. Her abstract, constantly evolving compositions resemble paintings, and yet they are deeply rooted in textile history. Using a digital jacquard loom together with the language of historic weaving techniques, Matson honors the centuries-old craft while also embracing a new approach to technology. Her works allow viewers to engage with textiles of the past in thoughtful, innovative ways. A continuation of the Milwaukee Art Museum’s Currents series, which highlights new trends in contemporary art, this volume brings together nearly 50 of Matson’s most recent works from the last five years, and is the first publication to explore Matson's wide-ranging textile art.

Presenting Kehinde Wiley’s hotly anticipated response to a legendary Gainsborough portraitThis volume presents A Portrait of a Young Gentleman, a new portrait by Kehinde Wiley (born 1977), commissioned to mark the centennial of the acquisition of Blue Boy by Henry and Arabella Huntington. The Huntington Library, Art Museum, and Botanical Gardens places Wiley's painting in conversation with Thomas Gainsborough's 18th-century masterpiece. A deep connection exists between the museum’s most famous painting and the artist who is known for creating one of the most beloved presidential portraits of our time. A native of Los Angeles, Wiley has often spoken about his childhood visits to the Huntington’s British portrait gallery and how they inspired him to become an artist.Richly illustrated with portraits by Wiley and by 18th-century masters such as Gainsborough, Joshua Reynolds and Thomas Hudson, this book offers insight into the evolving history of portraiture and the representation of power. An essay by Malik Gaines, Associate Professor of Performance Studies at New York University’s Tisch School of the Arts, investigates Wiley’s postmodern strategy of inserting Black subjects into canonical European settings. An essay by fashion historian Kimberly Chrisman-Campbell situates Wiley’s work within the traditions and trappings of 18th-century grand manner portraiture.

How female artists have depicted women's lives, from the 17th century to the 1960sSelected from the rich holdings of the Loeb Art Center at Vassar College in Poughkeepsie, New York, Women Picturing Women explores the common themes and complex visions that emerge when women depict other women. Portraits and domestic scenes are often the vehicles through which these artists grappled with narratives found in religion, mythology or social critique, focusing on motifs of both intimacy and isolation in varying degrees. With works that range from the 17th century to the close of the 1960s, Women Picturing Women provides a varied set of examples that speak to the unique and frequently underemphasized artistic lens through which women viewed their female peers, with further scholarship on each artist and her work.Artists include: Angelica Kauffman, Berthe Morisot, Jesse Tarbox Beals, Lilly Martin Spencer, Alice Neel, Diane Arbus and Sylvia Sleigh.

Mallarmé’s magnum opus rendered as an open-ended Tarot-esque card gameUpon his death, Stéphane Mallarmé (1842–98) left hundreds of notes on an unrealized great work he called The Book. Housed in a clear Plexiglas box, this card-deck conception of his project draws from that material, and from other writings alluding to its possible forms, including a letter in which he describes “a book that is architectural…. The orphic explanation of the Earth, which is the sole duty of the poet, and the literary game par excellence.”The title of this game derives from another letter in which Mallarmé writes, “perhaps the title of my volume of lyric poetry will be The Glory of the Lie, or The Glorious Lie.” Each deck contains 48 cards: three with artwork on each side, and 45 with words or phrases on each side. The size of the cards, their gold edging and the physical housing of the decks in the box reflect descriptions and clues in Mallarmé’s notes.The manner of playing the game is left open, but quotes and diagrams by Mallarmé in the accompanying 20-page booklet point to the idea of pulling cards from each of the four decks and laying them out for one reading, then flipping the cards over for a second reading. The image cards function like the Arcana of Tarot, providing a visual language equal to the word cards. The readings might be used to create poetry or, like Tarot, to divine or illuminate.

This beautifully designed volume explores Sherwood’s multimedia adventures in cross-species communicationThe first monograph on Dana Sherwood (born 1977), this book showcases the New York artist’s pioneering experiments with cross-species communication. Her films, sculpture installations and paintings engage discussions around the environment, global food chains, the rapid growth of social media, feminism, animal studies and spirituality. Featuring a tipped-on cover image, metallic embossing and various page sizes and paper stocks, this book expands upon these themes, with essays and documentation of paintings, film stills and recipe and sketchbook facsimiles. Generously illustrated sections of plates are followed by a chronology of the artist’s career to date and a checklist of works.