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Category Archives: exhibition
Edited by Emily J. Peters with contributions by Evelyn Lincoln and Andrew Stein Raftery (2009)
Renaissance engravings are objects of exquisite beauty and incomparable intricacy that are composed entirely of lines. Artists began using this intaglio process in Europe as early as 1430. This captivating catalogue focuses on the height of the medium, from 1480 to 1650, when engravers made dramatic and rapid visual changes to engraving technique as they responded to the demands of reproducing artworks in other media. The Brilliant Line follows these visual transformations and offers new insight into the special inventiveness and technical virtuosity of Renaissance and Baroque (Early Modern) engravers. The three essays discuss how engraving’s restrictive materials and the physical process of engraving informed its visual language; the context for the spread of particular engraving styles throughout Europe; and the interests, knowledge, and skills that Renaissance viewers applied when viewing and comparing engravings by style or school.
Edited by Lauren Cornell and Ed Halter (2015)
Since the turn of the millennium, the Internet has evolved from what was merely a new medium to a true mass medium – with a deeper and wider cultural reach, greater opportunities for distribution and collaboration, and more complex corporate and political realities. Mapping a loosely chronological series of formative arguments, developments, and happenings, Mass Effect provides an essential guide to understanding the dynamic and ongoing relationship between art and new technologies.
By Barbara Bloemink, Brooke Hodge, Ellen Lupton and Matilda McQuaid (2006)
The exhibition catalog inaugurates Cooper-Hewitt’s new self-publishing venture. The publication includes a foreword by director Paul Warwick Thompson; original essays by co-curators Barbara Bloemink, Brooke Hodge, Ellen Lupton, and Matilda McQuaid; a designer profile of each of the 87 designers featured in the exhibition; and more than 300 images, most in full color. The book is designed by COMA (Cornelia Blatter and Marcel Hermans), who are also featured in the exhibition.
Edited by Elizabeth Seaton (2006)
In 1910 Bertha Jaques co-founded the Chicago Society of Etchers and helped launch a revival of American fine art printmaking. In the decades following, women artists produced some of the most compelling images in U.S. printmaking history and helped advance the medium technically and stylistically. Paths to the Press examines American women artists’ contributions to printmaking in the U.S. during the early to mid twentieth century.
By Donna De Salvo and Catherine Gudis (1999)
In 1995, the resolutely reclusive Ray Johnson reemerged into the spotlight when he died in a mysterious and spectacular way, leading to the discovery of thousands of works of art in his house. Drawing upon this vast trove, Donna De Salvo, the Wexner Center’s Curator at Large, has organized Ray Johnson: Correspondences, the first comprehensive exhibition to be mounted (with the complete cooperation of the artist’s estate).
Like Rauschenberg, Cy Twombly, Jasper Johns, and later Andy Warhol and Jim Rosenquist, Johnson combined the signs and symbols of contemporary culture with the lessons of abstraction to develop a new lexicon of forms. A pioneer in the use of ‘found’ images and techniques of mechanical reproduction, Johnson created in 1955 what may have been the first informal happening.
Johnson first created ‘mail art’ in the fifties. These were part collage, part manifesto, part parody; he often instructed recipients to ‘add to’, ‘return to’, or ‘send to’, spawning an interactive art form, a continuous happening, that pre-figured electronic mail. Johnson was the nerve center of this pre-digital netscape that spread around the nation and, eventually, the world, which continues to flourish today.
By the eighties, Johnson was a legend in the artistic community. Ray Johnson: correspondences, offers the first opportunity for in-depth examination of the work of an artist who reflected and dissected many of the aesthetic, cultural, and theoretical preoccupations of the last forty years; a figure whose impact and influence will finally be made known.
By Ashley Callahan (2007)
This fully illustrated book on fashion designer and fiber artist Mariska Karasz (1898-1960) accompanies the exhibition of the same name at the Georgia Museum of Art from January 20 to April 15, 2007. It is divided into three major sections, one focusing on her fashion design for women, one on her fashion design for children, and one on her embroidered wall hangings. With many full-color images representing all three of these categories, it is the most comprehensive work published on Karasz.
By Donald Albrecht, Ellen Lupton, Mitchell Owens, and Susan Yelavich (2003)
Inside Design Now takes the pulse of American design in the new millennium, providing a fascinating tour of cutting-edge trends in architecture, interiors, landscape, fashion, graphics, and new media.
Featuring eighty emerging and established designers – including 2 x 4, Mike Mills, Peter Eisenman, Fuse Project, Tod Machover, Paula Scher, Jennifer Siegal, and Isaac Mizrahi – Inside Design Now illustrates the most innovative and provocative thinking in design today. Each designer’s work is presented with a double-page spread and a series of full-color images. Essays explore the role of the designer in today’s culture, contemporary ideas of beauty and functionality, and what the future holds in the realm of design. Sensuous materials, lush patterns, and exquisite details come together with new technologies, pop imagery, and fresh approaches to scale, color, and construction in the works reproduced in this volume.
Edited by Russell Ferguson, Martha Gever, Trinh T. Minh-ha, and Cornel West (1990)
Out There addresses the question of cultural marginalization – the process through which various groups are excluded from access to and participation in the dominant culture. It is a wide-ranging anthology that juxtaposes diverse points of view on issues of gender, race, sexual preference, and class. It takes up the fundamental issues raised when we attempt to define concepts such as “mainstream” and “minority,” and it opens up new ways of thinking about culture and representation in our society.
Edited by Jim Fricke and Charlie Ahearn (2002)
Based on the “Hip-Hop Nation” exhibit at Seattle’s Experience Music Project and the project’s ongoing Oral History Program, this history of the beginnings of hip-hop in 1970s New York City is a lavishly illustrated and lovingly compiled homage to the many artists who contributed to the birth of what soon became and remains today, more than 25 years later a worldwide cultural institution. Editors Fricke and Ahearn (director of the hip-hop film Wild Style) weave the insights and attitudes of nearly 100 of the key players into a multihued and multiracial tapestry that illustrates what the excitement of that era and its music was all about. Since the hip-hop style was first developed in the Bronx borough of New York City as a dance-floor alternative to the then-prominent “disco” sound, the oral narrative is dominated by the voices of well-known DJs: Kool Herc, Afrika Bambaataa and Grandmaster Flash. But much of the success of the book is derived from its exploration of the roots of other related hip-hop trends: how the massive new styles of graffiti were both a response to urban violence as well as a way to provoke the interest of downtown New York avant-garde artists; how the competitive world of break dancing was rooted in the rapidly changing and fading gang culture of the Bronx; and how many women were far more active and influential in all types of hip-hop styles than was obvious or recognized at the time. This is an excellent documentation of how early hip-hop expressed “a balance between pain and the celebration of music and movements.”
Mr. Wilson’s Cabinet Of Wonder: Pronged Ants, Horned Humans, Mice on Toast, and Other Marvels of Jurassic Technology
By Lawrence Weschler (1995)
In the non-Aristotelian, non-Euclidean, non-Newtonian space between the walls of the Museum of Jurassic Technology in Los Angeles exist bats that can fly through lead barriers, spore-ingesting pronged ants, elaborate theories of memory, and a host of other off-kilter scientific oddities that challenge the traditional notions of truth and fiction. Lawrence Weschler’s book, expanded from an article for Harper’s, is, at turns, a tour of the museum, a profile of its founder and curator, David Wilson, and a meditation on the role of imagination and authority in all museums, in science and in life. Mr. Wilson’s Cabinet of Wonder is an exquisite piece of “magic realist nonfiction” that will prove utterly captivating.