Broadening our scope from a usual combined celebration of poetry and architecture, timed to national commemorations in the month of April, we’re broadening our focus to include a broader range of the arts, including many new books on the philosophy and history of art, several accompanying traveling exhibitions with the
Monumental is a word often applied to descriptions of Jay DeFeo’s The Rose. With an estimated weight of 2,000-3,000 pounds, “monumental” is hardly a misnomer. However what might strike visitors to the Whitney Museum’s recently opened DeFeo retrospective is not simply the heft of the piece but its surprising serenity.
Follow @yaleARTbooks Edwardian Opulence: British Art at the Dawn of the Twentieth Century opens with Giovanni’s Boldini’s Portrait of a Lady, which features a popular society woman seated on an elaborately embroidered coral silk settee fanning herself with a great black ostrich feather fan. As she leans toward the viewer
Follow @yaleARTbooks Following the post on the exhibition catalog, a Q&A with Jennifer Gross, Seymour H. Knox, Jr., Curator of Modern and Contemporary Art at the Yale University Art Gallery and editor of The Société Anonyme: Modernism for America. What specifically prompted Dreier and Duchamp to found the Société Anonyme? What
When flipping through Caribbean: Art at the Crossroads, the reader will encounter Arnaldo Roche Rabell’s We Have to Dream in Blue. The image is arresting: a dark figure in jungle covering appears from the brush, watching with bright, blue eyes. Whether man or woman; European, African, or Caribbean indigent; the uncommonly
Follow @yaleARTbooks In 1920, three luminaries of the American art world—Katherine Dreier, Marcel Duchamp, and Man Ray, founded Société Anonyme. Frustrated by America’s indifference and frequent hostility to its artists, Dreier and Duchamp sought to cultivate a community of American modern artists that would inspire, through exhibitions, lectures, and eventually
Follow @yaleARTbooks Caroline Hayes— The widely acknowledged use of Photoshop in modern photography does not mark the emergence of manipulated photography; rather, it is a progression, or perhaps even just a technologically altered form of the medium’s original processes. Assistant Curator in the Department of Photographs at The Metropolitan Museum
Follow @yaleARTbooks Caroline Hayes— The history of menswear fashion is bound to the history of some of America’s most prestigious college campuses. In Ivy Style: Radical Conformists, a book of essays edited by The Museum at the Fashion Institute of Technology’s Deputy Director, Patricia Mears, several menswear experts examine the
Follow @yaleARTbooks An interaction with the works of Jasper Johns is an interaction with the processes of perception. His enormous impact on the development of Pop art, Minimalism and Conceptual art in the 1950s and 1960s had much to do with his dedication to and manipulation of our limits of
Follow @yaleARTbooks Yale University Press Executive Editor, William Frucht, weighs in on the history of photography and its intersection with art and politics from the pages of The Radical Camera: New York’s Photo League, 1936-1951, by curators Mason Klein and Catherine Evans; the catalogue accompanies an exhibition currently on view at the Contemporary