Encyclopedia of American Folk Art


Book Description

For a full list of entries, contributors, and more, visit the Encyclopedia of American Folk Art web site. This is the first comprehensive, scholarly study of a most fascinating aspect of American history and culture. Generously illustrated with both black and white and full-color photos, this A-Z encyclopedia covers every aspect of American folk art, encompassing not only painting, but also sculpture, basketry, ceramics, quilts, furniture, toys, beadwork, and more, including both famous and lesser-known genres. Containing more than 600 articles, this unique reference considers individual artists, schools, artistic, ethnic, and religious traditions, and heroes who have inspired folk art. An incomparable resource for general readers, students, and specialists, it will become essential for anyone researching American art, culture, and social history.




Monster Roster


Book Description

Monster Roster: Existentialist Art in Postwar Chicago (on view at the Smart Museum in winter/spring 2016) will be accompanied by a comprehensive publication--the first of its kind--that includes an introductory essay by critic and collector Dennis Adrian; an overview of the Monster Roster by John Corbett; an essay about the historical context out of which the Monster Roster emerged by historian Thomas Dyja; a discussion of Monster Roster prints by art historian and curator Marc Pascale; an in depth look at Leon Golub's early work by art historian Jon Bird; and a personal response to the Monster Roster's work by contemporary artist Arlene Shechet. There will also be historic reprints of key texts including Franz Schulze's 1972 essay "Chicago: The Setting and the Group" from Fantastic Images: Chicago Art Since 1945 as well as Jean Dubuffet's lecture "Anticultural Positions" given at the Arts Club of Chicago in 1951. The publication will also contain full-color reproductions of all work on view in Monster Roster, a detailed chronology and exhibition history, and reproductions of ephemera and historical photographs.







Historical Dictionary of Contemporary Art


Book Description

The Historical Dictionary of Contemporary Art illuminates important artists, styles, and movements of the past 70 years. Beginning with the immediate post-World War II period, it encompasses earlier 20th century masters, including Pablo Picasso, Henri Matisse, Henry Moore, Alberto Giacometti, Joan Miró, Jean Dubuffet, Stuart Davis, Georgia O’Keeffe, and other well-known figures, who remained creatively productive, while also inspiring younger generations. The book covers subsequent developments, including abstract expressionism, happenings, pop art, minimalism, conceptual art, arte povera, feminist art, photorealism, neo-expressionism, and postmodernism, as well as the contributions of such artists as Jackson Pollock, Willem de Kooning, Mark Rothko, Helen Frankenthaler, Joan Mitchell, Robert Rauschenberg, David Hockney, Ellsworth Kelly, Francis Bacon, Louise Bourgeois, Lucio Fontana, Andy Warhol, Richard Serra, Donald Judd, Joseph Beuys, Christo, Anselm Kiefer, Judy Chicago, Ai Weiwei, and Jeff Koons. Historical Dictionary of Contemporary Art contains a chronology, an introduction, and an extensive bibliography, including more than 900 cross-referenced entries on important artists, styles, terms, and movements.This book is an excellent resource for students, researchers, and anyone wanting to know more about contemporary art.




All Told


Book Description

LeRoy Neiman was arguably the world’s most recognizable contemporary artist until his passing in June 2012. He broke the barrier between fine art and popular art while creating indelible images that helped define the twentieth century. But it is the life he lived and the people he knew that make the memoir of this scrappy Depression-era kid who became a swashbuckling bon vivant with the famous mustache such a marvelous historical canvas. Chronicler and confidant of Muhammad Ali, Neiman also traveled with Sinatra, cavorted with Dalí and Warhol, watched afternoon soaps with Dizzy Gillespie, played in Sly Stallone’s Rocky movies, exchanged quips with Nixon, smoked cigars with Castro, and experienced the terrorist attacks at the Munich Olympics alongside Peter Jennings, Howard Cosell, and Jim McKay. And then there was his half-century relationship with Hugh Hefner as principle artistic contributor to Playboy, setting up studios in London and Paris to cover his Playboy beat, “Man at His Leisure,” and his creation of the Femlin, the iconic Playboy nymphette. With his life’s work, and in All Told, LeRoy Neiman captured sports heroes, movie stars, presidents, dishwashers, jet-setters, jockeys, and more than a few Bunnies at the Playboy Mansion—a panoramic record of society like no other.




Self-taught Art


Book Description

The first book to give self-taught art the same degree of scholarly attention and critical thinking that mainstream art traditionally receives




Art in Chicago


Book Description

For decades now, the story of art in America has been dominated by New York. It gets the majority of attention, the stories of its schools and movements and masterpieces the stuff of pop culture legend. Chicago, on the other hand . . . well, people here just get on with the work of making art. Now that art is getting its due. Art in Chicago is a magisterial account of the long history of Chicago art, from the rupture of the Great Fire in 1871 to the present, Manierre Dawson, László Moholy-Nagy, and Ivan Albright to Chris Ware, Anne Wilson, and Theaster Gates. The first single-volume history of art and artists in Chicago, the book—in recognition of the complexity of the story it tells—doesn’t follow a single continuous trajectory. Rather, it presents an overlapping sequence of interrelated narratives that together tell a full and nuanced, yet wholly accessible history of visual art in the city. From the temptingly blank canvas left by the Fire, we loop back to the 1830s and on up through the 1860s, tracing the beginnings of the city’s institutional and professional art world and community. From there, we travel in chronological order through the decades to the present. Familiar developments—such as the founding of the Art Institute, the Armory Show, and the arrival of the Bauhaus—are given a fresh look, while less well-known aspects of the story, like the contributions of African American artists dating back to the 1860s or the long history of activist art, finally get suitable recognition. The six chapters, each written by an expert in the period, brilliantly mix narrative and image, weaving in oral histories from artists and critics reflecting on their work in the city, and setting new movements and key works in historical context. The final chapter, comprised of interviews and conversations with contemporary artists, brings the story up to the present, offering a look at the vibrant art being created in the city now and addressing ongoing debates about what it means to identify as—or resist identifying as—a Chicago artist today. The result is an unprecedentedly inclusive and rich tapestry, one that reveals Chicago art in all its variety and vigor—and one that will surprise and enlighten even the most dedicated fan of the city’s artistic heritage. Part of the Terra Foundation for American Art’s year-long Art Design Chicago initiative, which will bring major arts events to venues throughout Chicago in 2018, Art in Chicago is a landmark publication, a book that will be the standard account of Chicago art for decades to come. No art fan—regardless of their city—will want to miss it.




A Home of Her Own


Book Description

Illustrated with more than 100 color photographs, A Home of Her Own showcases a wide variety of homes and tells the stories of their making.




Fantastic Images; Chicago Art Since 1945


Book Description

"In Fantastic Images, critic Franz Schulze presents the first comprehensive discussion of the body of work which has been called, sometimes affectionately and sometimes disparagingly, the "Chicago School" of art. The author considers the work of 28 artists: a diverse group bound together more by attitude than style--by its almost perverse but deliberate inclination to bypass the mainstream of the Paris and New York schools. Mr. Schulze puts the discussion into context by tracing its beginnings in the 1940s through its development in the 1960s and 70s."--Dust jacket flap.