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Title:
Icons of the desert : early aboriginal paintings from Papunya

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This publication is an exhibition catalog produced by the Herbert F. Johnson Museum of Art at Cornell University for a show featuring forty-nine "dot-paintings" produced by Aboriginal artists from the settlement of Panpunya. Dot-painting has become an art instantly associated with Aboriginal Australia. In the more than thirty-five years since the advent of this movement, Papunya works have been widely exhibited and acquired by private collectors and museums in Australia, and increasingly abroad. This is the first book to focus on the founding expressions of Papunya art. It examines their origins in the paintings produced in Papunya in the Western Desert during the years 1971 to 1973, after the Sydney schoolteacher Geoffrey Bardon provided Aboriginal men with art materials and encouraged them to paint on Masonite, against the wishes of Australian government officials. These paintings claim a unique status. Only around six hundred were made. They are also the first painted works to transfer the designs of desert ceremonial imagery to a permanent surface. The book is illustrated with full-color plates of the forty-nine exhibited works by such great artists as Clifford Possum Tjapaltjarri, Johnny Warangkula Tjupurrula, and Tim Leura Tjapaltjarri. In addition, it features numerous color figures of comparative works and documentary photographs of the original artists at work, some never before published, and a chronological catalog documenting the works’ history and iconography.

Title:
La sculpture à Paris. 1905-1914, moment de tous les possibles

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Autour de 1900, Paris rassemble une nouvelle génération de sculpteurs consciente de vivre l’aube d’une nouvelle ère et cherchant un langage pour cet avenir encore indécis. Paris est aussi un milieu intellectuel traversé de nouvelles idées qui stimulent les débats esthétiques et renouvellent nombre de questions : autonomie par rapport à la peinture, détour par le passé, relation à l’espace et au temps. Des penseurs comme Bergson, James, Nietzsche et Simmel, en substituant des notions comme l’intuition et la mouvance à la raison et à la permanence, fécondent la création plastique. Des sculpteurs aux sensibilités en apparence incompatibles apparaissent finalement comme formant un ensemble cohérent dans ce contexte.

Title:
UAM : Union des artistes modernes

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Présentation de l'histoire de ce mouvement artistique créé en 1929 pour promouvoir les arts décoratifs, notamment à partir des expositions organisées entre 1930 et 1937. La deuxième partie propose 70 biographies d'artistes ayant marqué le mouvement : René Herbst, Hélène Henry, Gustave Miklos ou encore Jean Prouvé et Charlotte Alix.

Title:
UAM : une aventure moderne

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L'Union des Artistes Modernes est vaste mouvement regroupant des architectes, des artistes décorateurs, des créateurs de mobilier, mais aussi des peintres, des sculpteurs, des photographes, des créateurs de tissus et de bijoux, des graphistes et des affichistes... Fondée en 1929 sous la forme d'une association française ouverte aux créateurs internationaux, il aura comporté plus de 170 membres jusqu'à sa dissolution en 1958. Les artistes français comme Fernand Léger, Sonia Delaunay, Raoul Dufy, Henri Laurens pour la peinture, Francis Jourdain, Eileen Gray, Charlotte Perriand, Pierre Chareau, pour le design, Mallet-Stevens, Jean Prouvé, Le Corbusier et Pierre Jeanneret, Jean Lurçat, mais aussi Lods, Zehrfuss ou Emile Aillaud pour l'architecture, Hélène Henry pour le textile, Jean Carlu pour le graphisme...tous sont des membres éminents de l'UAM dont la liste couvre tous les champs de la création. Rassemblées de manière inédite sous forme de « périod room » leurs œuvres offrent un large panorama de la création sur près de cinquante ans et donnent à voir l'évolution de l'idée « moderne ».

Title:
Tatlin's tower

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The plans for the gigantic Monument to the Third International were completed in 1920 by Vladimir Tatlin, the Russian painter and visionary designer who was a key figure of Russian constructivism. Planned as the headquarters and monument of the Comintern in Petrograd, it was to be made from industrial materials—iron, glass, and steel—as a towering symbol of modernity. Because of the political turmoil and housing shortages in Russia after the 1917 Revolution, the building was never constructed, but it remains a celebrated icon of revolutionary art. In this insightful book, the author investigates the sources and symbolism of Tatlin’s Tower and considers not only its significance but also the broader role of allegory in abstraction and as an expression of man’s highest aspirations.

Title:
Twilight visions: Surrealism and Paris

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Through an examination of Surrealist photographs, objects, exhibitions, activities, and writings, the essays in Twilight Visions, the illustrated companion volume to the exhibition of the same name, portray the French capital as a city in the process of metamorphosis-in a kind of twilight state. The Bureau of Surrealist Research, the major Surrealist exhibitions, and the photographs of Paris by Brassai, Andre Kertesz, Ilse Bing, Germaine Krull, and Man Ray, among others, all reflect the tumultuous social and cultural transformations occurring in Paris in the 1920s and 30s. This volume considers the social, aesthetic, and political stances of the Surrealists as they probed hidden aspects of the commonplace and blurred the boundaries between dreams and reality, subjectivity and objectivity.

Title:
Futurism, an anthology

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Published to coincide with the 100th anniversary of the founding of futurism, this is the most complete anthology of futurist manifestos, poems, plays, and images ever to bepublished in English, spanning from 1909 to 1944. Now, amidst another era of unprecedented technological change and cultural crisis, is a pivotal moment to reevaluate futurism and its haunting legacy for Western civilization.

Title:
Minimalism

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Survey Critic and art historian James Meyer, a leading authority on Minimalism, examines the movement from its beginnings to its broader cultural influence.

Title:
Psychedelic: Optical and visionary art since the 1960s

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Although the term "psychedelic" was coined to describe hallucinatory experiences produced by drugs used psychotherapeutically, the story these images tell is about the influence of psychedelic culture on the art world—not necessarily the influence of drugs. As contemporary art evolved into a diverse and pluralistic discipline, the psychedelic evolved into a language of color and light. In Psychedelic, more than seventy-five vivid color images chart this development, exploring the art chronologically, from early Op Art through recent work using digital technology. The book, which accompanies an exhibition organized by the San Antonio Museum of Art, includes three essays that set the works in historical and cultural context.

Title:
On line: Drawing through the Twentieth Century

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$55.00
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On Line explores the radical evolution of drawing that took place during the last century and through to the present day, as numerous artists subjected the traditional concepts of the medium to a critical examination. Published to accompany an exhibition at The Museum of Modern Art, New York, the catalog presents a discursive history of mark-making through nearly 250 works by 100 artists, including Aleksandr Rodchenko, Alexander Calder, Karel Malich, Eva Hesse, Anna Maria Maiolino, Richard Tuttle, Mona Hatoum and Monika Grzymala among many others. Essays by the curators illuminate individual practices and offer focused examinations of broader themes, such as the exploration of line by the avant-garde, and the relationship between drawing and dance.