"This is the first major publication of Mary Weatherford, who is quickly becoming one of the most prominent artists of her generation, and surveys the artist's neon paintings. Since the beginning of her career she has rooted her abstract painting in subjective experience and brought a feminist perspective to what is perhaps the defining category of modern and contemporary art, breaking down preconceived notions of scale, technical achievement, and formal progress. Weatherford accents the surface of her recent luminous paintings and installations with neon lighting fixtures to evoke the dynamic nature of city life. This beautifully illustrated book presents all of Weatherford's neon works to date, along with essays by Robert Faggen, Katy Siegel, Jennifer Peterson, and an interview with the artist."--Book jacket.

Timeless Painting presents the work of 17 contemporary painters whose works reflect a singular approach that is peculiarly of our time: they are a-temporal, a term coined by William Gibson and Bruce Sterling, the originators of the cyberpunk aesthetic. A-temporality or timelessness manifests itself in painting as an ahistoric free-for-all, where contemporaneity as an indicator of new form is nowhere to be found, and all eras co-exist. Published to accompany an exhibition at The Museum of Modern Art that explores the impact of this cultural condition on contemporary painting, this publication features work by an international roster of artists including Joe Bradley, Kerstin Brätsch, Matt Connors, Nicole Eisenman, Mark Grotjahn, Charline von Heyl, , Julie Mehretu, Oscar Murillo, Laura Owens and Josh Smith, among others. An overview essay by curator Laura Hoptman is divided into thematic chapters that explore topics such as re-animation and reenactment, recontextualization, 'Zombie' painting, and the concomitant 'Frankenstein approach', which describes a process of stitching together pieces of the history of painting to create a work of art that would be dead but for its juxtaposed parts, all working in association with one another to propel the work into life.

This is the first monograph to offer a comprehensive account of the work of Californian artist Mary Weatherford (born 1963), beginning in the mid-1980s and extending to the present. Weatherford was a student of pioneering twentieth-century art historian Sam Hunter at Princeton. Her broadly literate and visually arresting paintings address the legacies of American modernists from Arthur Dove and Agnes Pelton to Willem de Kooning and Morris Louis, while grappling with the politics of gender, the representation of specific moods and experiences, and other concerns squarely rooted in the present moment. From her early monumental targets, through canvases studded with real shells and starfish, as well as more abstract evocations of landscape inspired by caves, to her recent neon-appended panels whose atmospheres of rolling color foreground the painting process itself, Weatherford's works argue forcibly and convincingly for the engagement of painting with contemporary life. Suzanne Hudson's text, the fruit of many studio visits and long interviews, reveals a singularly inventive artist whose boundless facility for reinvention will compel any viewer, student, or critic of painting.

Discover the true story of the woman Dr. Martin Luther King Jr. nicknamed "Red" because of her fiery spirit! Mary Hamilton grew up knowing right from wrong. She was proud to be Black, and when the chance came along to join the Civil Rights Movement and become a Freedom Rider, she was eager to fight for what she believed in. Mary was arrested again and again—and she did not back down when faced with insults or disrespect. In an Alabama court, a white prosecutor called her by her first name, but she refused to answer unless he called her “Miss Hamilton.” The judge charged her with contempt of court, but that wasn’t the end of it. Miss Mary Hamilton fought the contempt charge all the way to the Supreme Court. Powerful free verse from Carole Boston Weatherford and striking scratchboard illustrations by Jeffery Boston Weatherford, accompanied by archival photographs, honor this unsung heroine who took a stand for respect—and won.

A new focus on the sublime landscapes in Lisa Yuskavage's voluptuous figure paintings Though she is arguably best known for the voluptuous female nudes that populate her paintings, Lisa Yuskavage's work is just as focused on the ethereal settings in which these subjects appear. Yuskavage creates finely detailed landscapes that blur the line between the fantastical and the familiar, melding abstraction with realism to depict self-contained worlds. These outdoor scenes defy conventions of landscape painting with surreal color palettes of lush greens and delicate pinks, cast in a gauzy light quality that highlights the almost magical nature of her paintings. Published in conjunction with a joint exhibition between the Aspen Art Museum in Colorado and the Baltimore Museum of Art in Maryland, this volume includes color reproductions of Yuskavage's paintings and watercolors from the early 1990s to the present, as well as an interview between Yuskavage and fellow artist Mary Weatherford. Based in New York City, American artist Lisa Yuskavage(born 1962) received her MFA from the Yale School of Art in 1986. In the years since, her signature style of figure painting has developed something of a cult following for its attention to art historical tradition and a decidedly contemporary, pop culture-based approach to the representation of the female form. Her work has been in solo exhibitions around the world. Yuskavage is represented by David Zwirner.

Despite the odds of Indian raids, the Civil War, and one man's feud, Weatherford began as a small frontier settlement in the mid-1800s, and quickly grew into a bustling West Texas county seat known for its Victorian beauty, home-grown peaches, and small-town charm. Images of courthouse construction and early pioneering families are among the first glimpses into Weatherford's fascinating history. Other highlights include the development of downtown, forgotten changes to the square, the first city rodeo grounds, photos of the Queen of England sitting for her coronation portrait, as well as rare shots of some of the city's more famous past residents, Larry Hagman and his mother, Mary Martin, and Comanche Chief Quanah Parker. Additional scenes of schools, streets, politics, firemen, parks, hospitals, and residents provide an entertaining and educational illustration of the city's past.

"Taking Helen Frankenthaler's 1950s New York debut as its starting point, "The heroine Paint": After Frankenthaler, a new publication edited by Katy Siegel, follows Frankenthaler's own painting over the years, expanding its focus to include the immediate social and artistic context of Frankenthaler's work, as well as tracing artistic currents as they move outwards in different directions over the decades. The book collects six scholarly essays, six short texts from contemporary artists, and reprints of historical writing, interweaving these voices with a visual chronology that locates key works from performances, publications, and cultural ephemera from over seven decades."--Publisher description.