Art History 207

February 19, 2009

whr_book_smallHere are Kevin Richard’s assignment and the Library research guide for Art history 207.


Art History 209

February 17, 2009

lisaart060828_8_198bHere are the assignment and research guide for Kevin Richards’ Spring 2009 Contemporary Art class.

Kehinde Wiley

January 29, 2009

Kehinde Wiley       The World Stage: Africa: Lagos-Dakar (M Wiley .N5 W55 2008)

From the Studio Museum HarlemThe World Stage: Africa, Lagos ~ Dakar is Kehinde Wiley’s (b. 1977) first solo exhibition at The Studio Museum in Harlem and features ten new paintings from his multinational “The World Stage” series. Wiley is known for his stylized paintings of young, urban African-American men in poses borrowed from eighteenth- and nineteenth-century European figurative paintings, a practice he started in the early 2000s while an artist in residence at the Studio Museum. Over the last two years, Wiley has expanded his project by living and working abroad; he temporarily relocates to different countries and opens satellite wileystudios to become familiar with local culture, history and art. His “The World Stage” series is the result of these travels.

Wiley’s first trip was to China, where he placed his models in poses based on Chinese propaganda art from the Cultural Revolution. The World Stage: Africa, Lagos ~ Dakar, organized by Christine Y. Kim, features paintings from Wiley’s next stops, Senegal and Nigeria. For this exhibition, Wiley’s models mimic historical public sculptures from Dakar, Senegal, and Lagos, Nigeria. Wiley received a BFA from the San Francisco Art Institute in 1999 and an MFA from the Yale School of Art in 2001 before becoming an artist in residence at the Studio Museum. His work is represented in the collections of several museums, including the Walker Art Center, Minneapolis; Brooklyn Museum; Denver Art Museum and Virginia Museum of Fine Art.”

New Book

January 29, 2009


Bea Emsbach: Beutezuge im Bodensatz der Wissenschaften (M Emsbach .E636 A4 2002)

From DAP ” In the intersection of comics, biotechnology, fairly tales, and science fiction lies the work of  Bea Emsbach Through the characteristic precision of her blood-red ink drawings, Emsbach creates scenarios–real and unreal–that serve to perturb and transfix the viewing eye. She designs imaginary scenarios of the future, traversing various pictorial worlds as a matter of course. Strange beings evolve as a result–peculiar mutants, hybrid humanoid creatures, entangled in bizarre situations and bound together with veins, tubes, and cords. This publication provides a comprehensive overview of Emsbach’s pen drawings from 1995 onwards (these comprise the body of her work), as well as selected lesser-known installation and object work.” Essays by Beate Ermacora, Verena Kuni, Annelie Pohlen and Edwin Schâfer.

January 29, 2009

Hammershoi (M Hamme .H282 A4 2008)

From The Royal Academy “The first Vilhelm Hammershøi (1864-1916) retrospective in the UK, this exhibition features over 60 paintings spanning the career of this celebrated Danish artist. The works have been selected from museums and private collections in Europe, the United States and Japan.

Hammershøi’s most compelling works are his quiet, haunting interiors, their emptiness disturbed only occasionally by the presence of a solitary, graceful figure, often the artist’s wife. Painted within a small tonal range of implied greys, these sparsely-furnished rooms exude an almost hypnotic quietude and sense of melancholic introspection.

In addition to the interiors, the exhibition also includes Hammershøi’s arresting portraits, landscapes and his evocative city views, notably the deserted streets of London on a misty winter morning. The magical quietness of Hammershøi’s work can be seen in the context of international Symbolist movements of the turn of the last century but the containment and originality of his art makes it unique.”

Interactive graphic: ‘Interior with Woman at Piano, Strandgade 30’

New Book

January 29, 2009

Live Forever: Elizabeth Peyton (M Peyto .P428 A4 2008)

From The New Museum  “Live Forever: Elizabeth Peyton is the first survey of Elizabeth Peyton’s work in an American institution. The survey will include more than 100 works made over the past fifteen years.


Peyton’s oeuvre can be read in chapters, each of which feature portraits of friends, family, personal heroes, and fleeting passions. Live Forever: Elizabeth Peyton will offer a visual biography of the artist, and at the same time create a snapshot of the popular culture of the past decade.

From her earliest portraits of musicians like Kurt Cobain, Liam Gallagher, and Jarvis Cocker to more recent paintings featuring friends and figures from the worlds of art, fashion, cinema, and politics including Rirkrit Tiravanija, Matthew Barney, and Marc Jacobs, Elizabeth Peyton’s body of work presents a chronicle of America at the end of the last century. A painter of modern life, Peyton’s small, jewel-like portraits are also intensely empathetic, intimate, and even personal. Together, her works capture an artistic zeitgeist that reflects the cultural climate of the late-twentieth and early-twenty-first centuries.”

See the exhibition’s website here.

New Book

November 12, 2008

How to Read Chinese Paintings (ND1042 .H43 2008)

The catalog How to Read Chinese Paintings accompanies an installation from The Metropolitan Museum of Art which studies 36 paintings and calligraphies from the Museum’s collection. Spanning 1,000 years of Chinese art history, from the 8th to the 17th century, the display will examine many of the Museum’s finest paintings, including figures, landscapes, flowers, birds, and religious subjects.

The installation groups related works to demonstrate different artistic approaches to the same subject. For example, four images of pine trees will illustrate the revolutionary transformation that occurred in Chinese painting between the 12th and the 14th century. Details of each painting will demonstrate how a more naturalistic approach to representation gave way around 1300 to an emphasis on self-expressive, calligraphic brushwork. Elsewhere, two 13th-century paintings – an elegant orchid rendered in sumptuous colors and a pristine monochrome depiction of narcissus – will be placed side by side to illustrate the difference between the art of court academicians and that of the scholar-amateurs.

Other meaningful juxtapositions include two works by the recluse-artist Ni Zan (1306-1374), revealing how personal trauma impacted his art. Two images of eagles – one by the 15th-century professional painter Lin Liang (ca. 1416-1480) and the other by the 17th-century Ming loyalist Zhu Da (Bada Shanren, 1626-1705) – will demonstrate how the latter artist turned a courtly subject into a powerful image of dissent and defiance. And three different ways of presenting Buddhist holy men will be on view: an imperially commissioned “iron-wire” drawing dated 1308 by the court painter Wang Zhenpeng (act. ca. 1280-1329), a comic fantasy by the late 16th-century eccentric Wu Bin (active ca. 1583-1626), and a devotional tour de force by the 25-year-old Buddhist monk Shitao (1642-1707).

New Landscape

November 12, 2008

Badlands:New Horizons in Landscape (N 8213 .B33 2008)

The artist’s relationship to landscape was once invoked by a canvas on an easel in a picturesque vista. No more. In the 1960s, the Earth Artists started focusing on natural systems and entropy; in the 1970s, photographers in the New Topographics movement turned their attention unsentimentally to the industrialized “man-altered” environment; in the 1980s, artists animated the natural landscape with art, movement, and performance; and in the 1990s, Eco-Artists collaborated with scientists to address sustainability, pollution, and politics. Badlands explores the latest manifestations of artists’ fascination with the earth, gathering work by contemporary artists who approach landscape through history, culture, and science.

Badlands, which accompanies an exhibition at MASS MoCA, approaches landscape as a theme with variations, grouping artists and their art (which is shown in 150 color illustrations) by category: Historians, who recontextualize the history of landscape depiction; Explorers, who explore the environment and our place within it; Activists and Pragmatists, who alert us to problems in the natural world and suggest solutions; and the Aestheticists, who look at the beauty found in nature. Each section begins with an essay: Gregory Volk maps the evolution of the genre from the Hudson River School to Earth Art; Ginger Strand examines the relationship between man and landscape through our cultural history; Tensie Whelan discusses environmental science, sustainability, and climate change; and Denise Markonish considers the new genre of landscape that emerges from the work displayed in Badlands.

As a physical object, Badlands supports the values represented by its intellectual and artistic content: it was produced using FSC (Forest Stewardship Council) certified techniques including paper, printing, and inks.

Artists: Robert Adams, Vaughn Bell, Boyle Family, Melissa Brown, Center for Land Use Interpretation, Leila Daw, Gregory Euclide, J. Henry Fair, Mike Glier, Anthony Goicolea, Marine Hugonnier, Paul Jacobsen, Mitchell Joachim/ Terreform, Nina Katchadourian, Jane Marsching, Alexis Rockman, Ed Ruscha, Joseph Smolinski, Yutaka Sone, Jennifer Steinkamp, Mary Temple.

California Video

October 30, 2008

California Video: Artists and Histories (N6512.5.V53 C35 2008)

Published to accompany a landmark exhibition on view at the J. Paul Getty Museum from March 15 through June 18, 2008, California Video presents the first comprehensive survey of the history of video art in California. Since the late 1960s, California artists have been at the forefront of an international movement that has expanded video into the realm of fine art. Whether designing complex video installations, devising lush projections, experimenting with electronic psychedelia, creating conceptual and performance art, generating guerilla video, or producing works that promote feminism and other social issues, these artists have utilized video technology to express revolutionary ideas.


This illustrated volume focuses on fifty-eight artists, from early video pioneers such as John Baldessari, Bruce Nauman, and William Wegman, to Martha Rosler, Diana Thater, Bill Viola, and other established and emerging talents. Thirty-seven recent interviews shed new light on these artists-their influences, creative processes, and impact. Together with commissioned essays, rare reprints, and previously unpublished video transcripts, California Video chronicles a distinctly West Coast aesthetic located within the broader history of video art.

exhibition website here.  New York Times article here.

Art History 208

October 28, 2008

Here’s the research-guide for the Art History 208 Class.

Update….Here are the guidelines for the term paper.