A beautiful presentation of a new suite of works made for the Menil Collection by Allora & Calzadilla The Puerto Rico-based collaborative duo Allora & Calzadilla created Specters of Noon as a group of seven large-scale works specifically for the Menil Collection. The ensemble is orchestrated around the idea of solar noon, a notion derived from Surrealist texts by Caillois, Césaire, and others that probe the transcultural mythology of noon--a time when shadows vanish and delirious visions momentarily reign. The works include light projections, guano, ship engines, live vocal performance, and coal. Using the Menil's Surrealist holdings as a point of departure, Specters of Noon is infused throughout with a Caribbean perspective that addresses the instability of environmental and colonial politics; one work is a power transformer damaged in Hurricane Maria that is half-sheathed in bronze. Filled with stunning installation photography and insightful texts both commissioned and reprinted, this volume captures the spirit of Jennifer Allora (b. 1974) and Guillermo Calzadilla's (b. 1971) deeply researched and multifaceted work.

This comprehensive, lavishly illustrated catalogue offers an in-depth survey of the incredibly vital but often overlooked legacy of Los Angeles's African American artists, featuring many never-before-seen works.

The author offers a comprehensive study of Mexican photography from the early twentieth century to today, demonstrating how images have shaped identities in Mexico, the United States, and in the borderlands where the two nations and cultures intersect-the shared image environment. Cross-cultural expisodes that are contradictory, especially in terms of cultural and sexual difference are discussed. Analyzing such topics as territory, sexuality, and social and ethnic relations in image making, the author traces the connective thread that photography has provided between Mexican and U.S. American intellectual and cultural production, and in doing so, defines both nations.==Back cover.

Published in conjunction with the exhibitions held at the Menil Collection, Houston, Dec. 2, 2012-March 17, 2013, the Centre for Contemporary Art, Lagos, Oct. 13, 2012-Jan. 27, 2013, and the Pulitzer Foundation for the Arts, St. Louis, Nov. 16, 2012-April 20, 2013.

Shedding fresh light on modern art beyond the West, this text introduces readers to artists, art movements, debates and theoretical positions of the modern era that continue to shape contemporary art worldwide. Area histories of modern art are repositioned and interconnected towards a global art historiography. Provides a much-needed corrective to the Eurocentric historiography of modern art, offering a more worldly and expanded view than any existing modern art survey Brings together a selection of major essays and historical documents from a wide range of sources Section introductions, critical essays, and documents provide the relevant contextual and historiographical material, link the selections together, and guide the reader through the key theoretical positions and debates Offers a useful tool for students and scholars with little or no prior knowledge of non-Western modernisms Includes many contrasting voices in its documents and essays, encouraging reader response and lively classroom discussion Includes a selection of major essays and historical documents addressing not only painting and sculpture but photography, film and architecture as well.

The first survey of more than fifty years of drawing by a legendary sculptor and draftswoman Lee Bontecou (b. 1931) established a significant reputation in the 1960s with pioneering sculptures and reliefs made of raw and expressionistic materials. Her art is simultaneously organic and mechanical, and infused with biological, geological, and technological motifs. These same qualities also animate a less-known but compelling body of work: her drawings. Ranging from her early soot on paper works created using powder from a welding torch to recent drawings in pencil and colored pencil that evoke cosmoses and microcosmic worlds, this stunning book is the first retrospective survey of Bontecou's consistently innovative drawings. More than sixty full-color plates, populated by imagery ranging from black voids to mechanomorphs to hybrid descendants of teeth, plants, and fish, are complemented by original essays from leading scholars who explore themes such as the drawings' historical contexts, Bontecou's use of the iconography of the void, and the eco-apocalyptic themes of an artist who came of age in the roiling political atmosphere of the 1960s. Distributed for The Menil Collection Exhibition Schedule: The Menil Collection, Houston (01/31/14-05/11/14) Princeton University Art Museum (06/28/14-09/21/14)

Joaqu�n Torres-Garc�a (1874-1949) is one of the most influential artists to have emerged from Latin America in the early 20th century. His unique innovations in the medium of wood--constructed three-dimensional grids and planes known as maderas--foreshadow later artistic developments in Europe and the Americas (such as the work of Louise Nevelson). Torres-Garc�a was also much celebrated for his work as a modernist painter, teacher, and author. This handsome catalogue focuses on Torres-Garc�a’s wood constructions and accompanies the first exhibition held in North America of these works and the first solo exhibition of the artist in the United States in over forty years. It includes essays by prominent scholars that discuss the creation of the maderas and their place in the debates surrounding abstract art in Paris in the late 1920s and early 1930s and in Montevideo, his hometown in Uruguay, in the late 1930s and 40s. It also includes newly translated writings by the artist.