Large-format and illustrated with original photography: a fresh look at the current scene for art lovers and a unique introduction to the art world for the novice For centuries, America's permutations of climate and landscape and its tantalizing suggestion of unlimited possibilities have inspired some of history's greatest minds to embark on both literal and imaginary journeys of exploration, none more so than its visual artists. Contrasting intimate visits to artists' studios with explorations of the country's sweeping landscapes of light and form that have inspired artists since the Luminists and the Hudson River School, here is a privileged look at the dreams, ideas, and thoughts of more than one hundred American artists who are active today. From established figures such as Marina Abramovic, John Baldessari, Chris Burden, Francesco Clemente Chuck Close, John Currin, Rachel Feinstein, Richard Prince, Robert Irwin, Kiki Smith, Bill Viola, and Lawrence Weiner to members of the new guard, including Diana Al-Hadid, Tauba Auerbach, Mark Bradford, Theaster Gates, Rashid Johnson, and Sterling Ruby, this profusely and beautifully illustrated journey through artists' studios provides an unprecedented look into the workings of one of the world's largest artistic communities. From New York's skyline to Southern California's sunny boardwalks, Art Studio America will embolden readers the chance to embark on transformative journeys of their own. The book includes essays by Robert Storr, Mark Godfrey, and Ben Genocchio.

Presents a collection of black-and-white and full-coclor photographs, drawings, and paintings by a number of deaf artists in America and includes illustrations and descriptions of each selection.

Foreword and acknowledgments / Kevin Sharp -- Black artists in America : From the Great Depression to Civil Rights -- Augusta Savage in Paris : African themes and the Black female body -- Walter Augustus Simon : abstract expressionist, art educator, and art historian -- Catalogue of the exhibition.

An introduction to the work of the controversial visual and performance artist William Pope.L.

Experience the creative explosion that transformed American art—in the words of the artists, writers, and critics who were there In the quarter century after the end of World War II, a new generation of painters, sculptors, and photographers transformed the face of American art and shifted the center of the art world from Paris to New York. Signaled by the triumph of abstraction and the ascendancy of painters such as Pollock, Rothko, de Kooning, and Kline, this revolution generated an exuberant and contentious body of writing without parallel in our cultural history. In the words of editor, art critic, and historian Jed Perl, “there has never been a period when the visual arts have been written about with more mongrel energy—with more unexpected mixtures of reportage, rhapsody, analysis, advocacy, editorializing, and philosophy.” In this Library of America volume, Perl gathers for the first time the most vibrant contemporary accounts of this momentous period—by artists, critics, poets, gallery owners, and other observers—conveying the sweep and energy of a cultural scene dominated (in the poet James Schuyler’s words) by “the floods of paint in whose crashing surf we all scramble.” Here are statements by the most significant artists, and major critical essays by Clement Greenberg, Susan Sontag, Hilton Kramer, and other influential figures. Here too is an electrifying array of responses by poets and novelists, reflecting the free interplay between different art forms: John Ashbery on Andy Warhol; James Agee on Helen Levitt; James Baldwin on Beauford Delaney; Truman Capote on Richard Avedon; Tennessee Williams on Hans Hofmann; and Jack Kerouac on Robert Frank. The atmosphere of the time comes to vivid life in memoirs, diaries, and journalism by Peggy Guggenheim, Dwight Macdonald, Calvin Tomkins, and others. Lavishly illustrated with scores of black-and-white images and a 32-page color insert, this is a book that every art lover will treasure.

"Thomas Hart Benton's autobiography first appeared in 1937 and met immediately with success. Thus presented, the opinions, judgments, and critical evaluations of this artist, whose works held the center of lively controversy, interested the general reader as well as the world of art. The book reappeared in 1951, bringing up to date the perspectives on life and art of a forthright participant and maker. Now, in his seventy-ninth year, Mr. Benton has added another chapter to his continuing comment on the world of art and the role of the artist in that world. His rare gift of cogent expression in letters as well as in color and line provides the reader with as vigorous and vital an experience as his paintings provide their viewers."--Dust jacket.

At the apex of World War II, SU graduate Tracy Sugarman documented naval life before, during and after D-Day. He did not write for periodicals nor was he one of the daring photojournalists of the time. In an age of photography and motion picture, this artist used brush, ink, and pencil to forge his own distinctive brand of artistic journalism. Much as Winslow Homer had been sent by Harper’s Weekly to the front to capture images of the Civil War on canvas, so Sugarman’s drawings and paintings recorded one of the most momentous turns in the fortunes of World War II. After the war, Sugarman continued to visually record the passing scene. The result is a pictorial trove of powerful historic and societal events of the day: from civil rights uproar and transformation in the south to labor demonstration and space exploration, from commanding an invading craft on D-Day to revisiting Normandy in the wake of 9/11. Punctuated by the artist’s own words, Sugarman’s work offers a meaningful and thoughtful reflection upon turning points in the last critical century, and what it means to be an American. Rife with wisdom and humor yet brimming with rage over injustice, Sugarman’s singular artistry provides insights into our American psyche as well as into the artist’s life. Drawing Conclusions also shows that ink and pencil can record event with as much graphic potency as camera and film.