Romare Bearden (1911-1988), one of the most prolific, original, and acclaimed American artists of the twentieth century, richly depicted scenes and figures rooted in the American South and the Black experience. His family story is a compelling, complicated saga of Black middle-class achievement in the face of relentless waves of white supremacy. It is also a narrative of the generational trauma that slavery and racism inflicted over decades. But as Glenda Gilmore reveals in this trenchant reappraisal of Bearden's life and art, his work reveals his deep imagination, extensive training and rich knowledge of art history
Emphasizing the open-ended and self-critical nature of the projects of abstraction in South America from the 1930s through the mid-1960s, this study focuses on the painting practices of Joaquin Torres-Garcia, Tomas Maldonado, Alejandro Otero, and Lygia Clark. Megan A. Sullivan positions the adoption of modernist abstraction by South American artists as part of a larger critique of the economic and social transformations caused by Latin America's state-led programs of rapid industrialization.
Here Now: Indigenous Arts of North America at the Denver Art Museum features 200 of the museum's most notable Indigenous artworks. It reinterprets the collection and reveals new insights into the historic and contemporary work of Indigenous artists. Contributions by Indigenous authors reflect on the collection and current issues. The expansive volume is for both new and established audiences.
Ringgold's most formative and influential political works are gathered in this beautifully designed clothbound volume -- Alongside reproductions of key works made between 1967 and 1981, Faith Ringgold: Politics / Power provides an overview of Ringgold's seminal artistic and activist work, and its historical context during these years, including accounts by the artist herself
Diego Rivera's America revisits a historical moment when the famed muralist and painter, more than any other artist of his time, helped forge Mexican national identity in visual terms and imagined a shared American future in which unity, rather than division, was paramount. This volume accompanies a major exhibition highlighting Diego Rivera's work in Mexico and the United States from the early 1920s through the early 1940s. During this time in his extraordinary career, Rivera created a new vision for the Americas, on both national and continental levels, informed by his travels back and forth across the U.S.-Mexico border.
Kharmohra is named after a gland taken from a donkey's neck that, on drying, becomes as hard as stone and is said to bring happiness by making the owner's most secret dreams come true. The metaphor is used to show how contemporary Afghan art is a long way from the romantic expectations with which Westerners often approach the country.