Terra Foundation for the Arts,U.S. – förlag

Art of the United States is a landmark volume that presents three centuries of US art through a broad array of historical texts, including writings by artists, critics, patrons, literary figures, and other commentators. Combining a wide-ranging selection of texts with high-quality reproductions of artworks, it offers a resource for the study and understanding of the visual arts of the United States. With contextual essays, explanatory headnotes, a chronology of US historical landmarks, maps, and full-color illustrations of key artworks, the volume will appeal to national and international audiences ranging from undergraduates and museum visitors to art historians and other scholars. Texts by a range of artists and cultural figures—including John Adams, Thomas Cole, Frederick Douglass, Mary Cassatt, Edward Hopper, Clement Greenberg, and Cindy Sherman—are grouped according to historical era alongside additional featured artists. A sourcebook of unprecedented breadth and depth, Art of the United States brings together multiple voices throughout the ages to provide a framework for learning and critical thinking on US art.

Waves battering the weathered rocks on a shore, young boys sailing carefree on open waters: Winslow Homer's raw, evocative seascapes are among the most distinctive and powerful in American art. "Winslow Homer: Poet of the Sea" offers here a fresh exploration of Homer and his career-long preoccupation with the relationship between humans and the waters that define their world. This exhibition catalogue organizes Homer's sea-centered works by four periods that correspond to geographic locations: Gloucester, Massachusetts and other early East Coast seascapes; Cullercoats, England; Prout's Neck in Maine; and notations from his trips to tropical regions, such as the Bahamas and fishing retreats, such as the Adirondacks in New York. Distinguished European and American scholars, in a series of incisive essays, argue that Homer's seascapes need to be reevaluated. While acknowledging that most understand his paintings as premier examples of American realism, the contributors show that they are also distinctly modern in a way that set Homer radically apart from his contemporaries.Nowhere is this more evident than in his seascapes, where abstractions and expression battle his pictorial realism. The moving emotional undertones of his seascapes emerge in the compelling full-colour reproductions featured in the catalogue, as his paintings simultaneously capture the unique landscape of their geographic settings, the universality of man's relationship to the sea, and issues of pictorial representation in general. Published in conjunction with exhibitions in 2006 at London's Dulwich Picture Gallery and the Musee d'Art Americain in Giverny, "Winslow Homer: Poet of the Sea" offers a new view of an American master.

As American settlement expanded westward in the 1860s, the U.S. government undertook large-scale investigations of its new territories. "Images of the West: Survey Photography in French Collections, 1860-1880" presents memorable glass-plate photographs from these federal surveys. The selection includes breathtaking views of such iconic sites as yosemite, as well as lesser-known ethnographic portraits taken by Timothy H. O'Sullivan, William H. Jackson, and William Bell, among others. The accompanying essays discuss how the photographs were used to promote white settlement, how their distribution at home and abroad contributed to the aggrandizement of the American West, and how the exploitative ideology underlying the use of photography extended to attitudes toward both American landscapes and American Indians. The images are all drawn from French public collections, which hold an astonishing number of these U.S. survey photographs. Accompanying an exhibition at the Musee d'Art Americain Giverny, "Images of the West" provides a critical new examination of a bygone era.

The history of American art is a history of objects, but it is also a history of ideas about how we create and consume these objects. As Picturing convincingly shows, the critical tradition in American art has given rise to profound thinking about the nature and capacity of images and formed responses to some of most pressing problems of picturing: What is an image, and why make one? What do images do?            The first volume in a new series on critical concerns in the history of American art, Picturing brings together essays by a distinguished international group of scholars who discuss the creation and consumption of images from the early modern period through the end of the twentieth century. Some of the contributions focus on art critical texts, like Gertrude Stein’s portrait of Cézanne, while others have as their point of departure particular artworks, from a portrait of Benjamin Franklin to Eadweard Muybridge’s nineteenth-century photographs of the California Coast. Works that addressed images and image making were not confined to the academy; they spilled out into poetry, literature, theater, and philosophy, and the essays’ considerations likewise range freely, from painting to natural history illustrations, travel narratives, and popular fiction. Together, the contributions demonstrate a rich deliberation that thoroughly debunks the notion that American art is merely derivative of a European tradition.With a wealth of new research and full-color illustrations, Picturing significantly expands the terrain of scholarship on American art.

As a category in art history, circulation is rooted in the contemporary context of Internet culture and the digital image. Yet circulation, as a broader concept for the movement of art across time and space in vastly different cultural and media contexts, has been a factor in the history of the arts in the United States since at least the eighteenth century. The third volume in the Terra Foundation Essays series, Circulation brings together an international and interdisciplinary team of scholars, including Thierry Gervais, Tom Gunning, J. M. Mancini, Frank Mehring, and Hela ne Valance, who map the multiple planes where artistic meaning has been produced by the circulation of art from the eighteenth century to the present. The book looks at both broad historical trends and the successes and failures of particular works of art from a wide variety of artists and styles. Together, the contributions significantly expand the conceptual and methodological terrain of scholarship on American art.

In his noteworthy theoretical essay "Experience," Ralph Waldo Emerson writes that humans by nature cannot fully grasp life as lived. If this is so, how capable are we of expressing our experiences in works of art? Despite this formidable challenge, for the past thirty years, scholarship in American art has assumed that works of art are coded and has analyzed them accordingly, often with constructive results. The fourth volume in the Terra Foundation Essays series, Experience considers the possibility of immediacy, or the idea that we can directly relate to the past by way of an artifact or work of art. Without discounting the matrix of codes involved in both the production and reception of art, contributors to Experience emphasize the sensibility of the interpreter; the techniques of art historical writing, including its affinity with fiction and its powers of description; the emotional charge the punctum that certain representations can deliver. These and other topics are examined through seven essays, addressing different periods in American art.

The Terra Foundation for American Art uses its impressive collection of American art spanning a two-hundred-year period to fulfill its mission. Since the Foundation's establishment in 1978, it has sought to share the collection's extraordinary pieces by renowned American artists like Mary Cassatt, Georgia O'Keeffe, and Edward Hopper with an international audience, encouraging the study of American art around the world. Conversations with the Collection helps to realize the Foundation's mission of serving as a "museum without walls," bringing art and scholarship to a global audience. The handbook entries and scholars' responses to the artworks that comprise these Conversations provide fascinating insight not only into the collection and its holdings, but also into the Foundation's history of making these works accessible to art historians and art lovers beyond the United States. The texts achieve a range of objectives, describing the significance of individual pieces in the collection, movements and themes that provide context for these works, and the Foundation's innovative objective of bringing its collection to an international audience. Indeed, this distinctive handbook demonstrates the success of the Foundation's mission: the works in its collection have had an impact on worldwide audiences, leading to a richer appreciation for American art.

On September 29, 2018, before a live audience at Navy Pier in Chicago, international curator Hans Ulrich Obrist conducted his first US Marathon interview session as part of Art Design Chicago, a yearlong celebration of Chicago's art and design legacy initiated by the Terra Foundation for American Art. Obrist, who has undertaken a life-long project of interviewing cultural figures, spoke with more than twenty of Chicago's most innovative and influential artists, designers, architects, writers, and other creatives. In their interviews, this diverse group of creatives provided insights into their artistic processes, influences, and ideas about and hopes for their shared city of Chicago. Among the participants were social-practice artist/developer Theaster Gates, architect Jeanne Gang, writer Eve Ewing, Hairy Who artists Art Green and Suellen Rocca, performance/installation artist Shani Crowe, and the city's cultural historian Tim Samuelson. Creative Chicago: An Interview Marathon serves as documentation for this event, including edited transcripts of the interviews, biographies of the participants, photos of the event, and images of the artists' work.

This volume of essays frames a comparative history of landscape painting in Australia and the United States through recent considerations of the Anthropocene, arguing that careful and deep analysis of specific nineteenth-century artworks reveals issues of environmental concern both past and present. Carefully drawn from two symposia held at the Art Gallery of Western Australia in Perth in 2016 and at the Ian Potter Museum of Art, University of Melbourne the following year, the volume includes eight essays and a conversation between artists. Colonization, Wilderness, and Spaces Between brings together the fresh insights of scholars and artists from Australia, the United Kingdom, and the United States and provides a resource for thinking critically about the historical, imperial, and environmental information that can be gleaned from looking closely at landscape paintings.

This exhibition catalog, Julia Fish: bound by spectrum, presents a fully-illustrated survey of the last decade of Fish's paintings and works on paper. It offers new scholarship around Fish's ongoing project that brings together the disciplines of painting, drawing, and architecture. For three decades, Fish has used her house and its vernacular architecture--a Chicago storefront workspace designed by Theodore Steuben in 1922--as the basis for a system of mapping color, form, and light in paintings and works on paper. Working from close observation, she renders architectural details at actual size and creates a dialog between objective information and subjective response. These works are informed by effects of light in space, time of day, the seasons, cardinal direction, and the artist's own physical vantage point. Accompanying the images of Fish's works are essays by Julie Rodrigues Widholm, Kate Nesin, and Colm T ib n, images and text by architect Dan Wheeler, and a selection of the artist's studio notations.

Lured by the ineffable beauty represented in Claude Monet's artwork and the promise of painting en plein air, artists from America and across Europe flocked to the French village of Giverny in the late nineteenth and early twentieth centuries, transforming it from a sleepy hamlet to a colorful and thriving artists' community. "Impressionist Giverny: A Colony of Artists", 1885-1915 evokes the longevity of impressionism and highlights the role Giverny played in the movement's ascendance, placing Giverny in the context of other European artists' colonies of its era. Making use of reproductions of period postcards, paintings, photographs, and previously unpublished documents, editor Katherine M. Bourguignon traces the evolution of the impressionist style in this idyllic international setting.Fellow contributors address the interactions of the artists of Giverny with Monet, the utopian experiment of a collective artistic enterprise, the emergence of the rural innkeeper as a new class of patron, and the American impressionists who, inspired by their experience in France, often formed artists' colonies back in the United States and participated in the ongoing tradition of French-American cultural exchange. Accompanying exhibitions at the Musee d'Art Americain Giverny and the San Diego Museum of Art, "Impressionist Giverny" captures the creative spirit and aesthetic that enlivened this artistic haven a century ago.

The Gilded Age of the United States - a time of dazzling prosperity and decorative opulence at the close of the nineteenth century - inspired an equally extravagant artistic outpouring, particularly in portraiture of high-society women. Depicting women dressed in lush ball gowns, with regal bearing and beguiling expressions, these portraits were acquired in large numbers by the French government of the era. Paintings by celebrated American artists such as John White Alexander, Thomas Eakins, William T. Dannat, and John Singer Sargent and photographs taken by Gertrude Kasebier, George Henry Seeley, Edward Steichen, and Clarence H. White remain in French public collections today, and they are the subject of the Musee d'Art Americain Giverny exhibition "Portrait of a Lady". This accompanying volume, with texts in both French and English, includes eighty full-color reproductions of these portraits and provides critical insight into the varied representations of femininity in art."Portrait of a Lady" brings a new perspective to the Gilded Age, revealing it as a period of fruitful exchange between French and American artists, between painting and photography, between tradition and avant-garde - all linked to the myth of "woman," a myth that is both eternal and constantly changing.

Scale is perhaps the most spectacularly overlooked aspect of artistic production. As photographic and digital reproductions have essentially dematerialized art, critical and historical research dealing with scale—both within the American critical tradition and abroad—has become scattered and insufficiently theorized.  However, by posing a specific challenge, such research forces a heightened recognition of both the properties of materials and the deep technical knowledge of makers. A reconsideration of scalar relationships in American art and visual culture therefore reveals original insights.            Scale is the second volume in the Terra Foundation Essays series. With eighty color illustrations and a wealth of new research from Glenn Adamson, Wendy Bellion, Wouter Davidts, Darcy Grimaldo Grigsby, Christopher P. Heuer, Joshua G. Stein, and Jason Weems, it explores viewers’ physical relationship to Barnett Newman’s abstract canvases, the arduous engineering behind the creation of Mount Rushmore, and the charged significance of liberty poles in the landscape of eighteenth-century New York, among other topics that range from studies of specific works of art to significant conceptual and theoretical concerns.

The history of innovative intermedia art practices in America.  In 1965, American artist and Fluxus cofounder Dick Higgins stated that much of the best art being made at the time fell between media. He linked the dismantling of divisions among media to decompartmentalization in society and the impending dawn of a “classless” society. After high art, he wrote, came the deluge brought on by Marcel Duchamp’s ready-mades, Robert Rauschenberg’s combines, and Alan Kaprow’s happenings. Intermedia, the term Higgins selected to describe this trend, referred to works of art that fuse different, often nontraditional, media. In intermedia, boundaries between mediums dissolve and new mediums emerge. Never a prescriptive term, intermedia remains fluid, both as an artistic practice and an art historical category.  The essays in this volume consider a range of subjects from nineteenth- and twentieth-century American art and visual culture, exploring instances of intermedia within specific cultural, social, and historical contexts and in relation to theories of media, image-making, and materiality. They present a rich account of American artistic practice as an open system of medial interrelation and exchange, highlighting experimental cross-pollinations and mutations among artistic forms.