Rarely seen installation works that exemplify this pioneering artist's critical focus on Black identity and Black feminism Showcasing a lesser-known aspect of Saar's art, Betye Saar: Serious Moonlight provides new insights into her explorations of ritual, spirituality and cosmologies, as well as themes of the African diaspora. Featured here are significant installations created by Saar from 1980 to 1998, including Oasis (1984), a work that will be reconfigured at ICA Miami's Saar exhibition for the first time in more than 30 years. With compelling scholarship and rich illustration--combining new installation photography and archival material--the monograph provides a fresh look at this significant artist's critical and influential practice. Betye Saar: Serious Moonlight reinforces and celebrates Saar's standing as a visionary artist, storyteller and mythmaker, and the ongoing significance and relevance of her work to the most pressing issues in America today. Betye Saar (born 1926) is renowned for pioneering Black feminism and West Coast assemblage in her visionary artistic practice, through dense, complexly referential objects. For over six decades, Saar's work has led dialogues on race and gender, reflecting changing cultural and political contexts. Most recently, solo presentations have been hosted by the Museum of Modern Art, New York, and the Los Angeles County Museum of Art. Saar's work was prominently featured in We Wanted a Revolution: Black Radical Women, 1965-85 at the Brooklyn Museum, New York, and in Soul of a Nation: Art in the Age of Black Power at Tate Modern, London, which traveled to Crystal Bridges Museum of American Art, Bentonville, Arkansas; Brooklyn Museum; The Broad, Los Angeles; and the M.H. de Young Memorial Museum, Fine Arts Museums of San Francisco.

Catalog of an exhibition held at De Domijnen in Sittard, the Netherlands, July 28 - November 15, 2015 and at the Scottsdale Museum of Contemporary Art, Scottsdale, Arizona, January 30 - May 1, 2016.

"Encompassing some 100 works in painting, sculpture, video, and installation, The Everywhere Studio brings together over 50 artists from the past five decades to reveal the artist’s studio as a charged site that has both predicted and responded to broader social and economic changes of our time. The Everywhere Studio interprets the works of post-war artists and emerging practitioners through the lens of the social and historical conditions in which they were made. Organized chronologically, the exhibition examines the changing relationships that artists have had to their sites of production. From the studio as a site of labor, to one that blurs production, performance, and spectacle, to a concept that defines the artist’s own identity, the exhibition features artists who, in response, to changing socio-economic influences, represented new modes of working and living that would subsequently spread across society."--Back cover.

Published to mark the artist's first solo US museum show, Paulo Nazareth: Melee presents an engaging and timely look at the artist's multifarious work. The exhibition, held at the Institute of Contemporary Art, Miami in 2019, explored how Nazareth's work engages the complex colonial and racial histories of the Americas. An artist who works across mediums, Nazareth uses performance and sculpture to critique the colonial experience and its afterlives in Brazil and the Americas. His durational performances and installations draw from his joint African and Indigenous heritage to highlight marginalized historical legacies, progressive political figures, non-Western worldviews, and potential methods of nonexploitative living and relating. Nazareth's work assumes a new poignancy in light of the return of repressive political forces and the racial reckoning that our historical moment demands. This beautifully produced volume offers over one hundred color illustrations in addition to newly commissioned scholarship. Paulo Nazareth: Melee is the first exhaustive catalogue of Nazareth's work, solidifying his place as one of today's most important global artists.

"Groundbreaking and provocative, Judy Chicago's iconic sculptures, paintings, and installations helped bridge the gap between feminism and art during the 1960s, 70s, and beyond. Using imagery inspired by the female body and references to historical female figures, Chicago forged a new, women-focused visual language that continues to influence the aesthetics of feminist art today. This book traces Chicago's career from her emergence on the Los Angeles art scene in the 1960s through her mature work in the 1990s. Featuring illustrations of six distinct bodies of works, this book includes Chicago's masterpiece The Dinner Party as well as other lesser-known works. With informative essays that situate Chicago's oeuvre in the context of contemporary Southern Californian art and scholarship that reflects Chicago's current work, this comprehensive book provides a breathtaking look at one of the quintessential figures of American feminist art" --

How artists' magazines, in all their ephemerality, materiality, and temporary intensity, challenged mainstream art criticism and the gallery system. During the 1960s and 1970s, magazines became an important new site of artistic practice, functioning as an alternative exhibition space for the dematerialized practices of conceptual art. Artists created works expressly for these mass-produced, hand-editioned pages, using the ephemerality and the materiality of the magazine to challenge the conventions of both artistic medium and gallery. In Artists' Magazines, Gwen Allen looks at the most important of these magazines in their heyday (the 1960s to the 1980s) and compiles a comprehensive, illustrated directory of hundreds of others. Among the magazines Allen examines are Aspen (1965–1971), a multimedia magazine in a box—issues included Super-8 films, flexi-disc records, critical writings, artists' postage stamps, and collectible chapbooks; Avalanche (1970-1976), which expressed the countercultural character of the emerging SoHo art community through its interviews and artist-designed contributions; and Real Life (1979-1994), published by Thomas Lawson and Susan Morgan as a forum for the Pictures generation. These and the other magazines Allen examines expressed their differences from mainstream media in both form and content: they cast their homemade, do-it-yourself quality against the slickness of an Artforum, and they created work that defied the formalist orthodoxy of the day. Artists' Magazines, featuring abundant color illustrations of magazine covers and content, offers an essential guide to a little-explored medium.

This monograph of the Jamaican self-taught artist John Dunkley offers a generously illustrated overview of his powerful work. Reproducing the intricate details and somber palette that characterize John Dunkley's paintings, this book thoughtfully situates the artist's oeuvre within its historical context. Working in a period that laid the foundation for Jamaica's nationalist movement, Dunkley was a part of a generation of West Indian men who traveled abroad to work and returned home to contribute to the formation of an independent nation, Marcus Garvey being the most critical of such figures. Essays from David Boxer, the leading authority on Dunkley, and Olive Senior, a historian of West Indian culture, focus on the social importance of Dunkley's paintings and sculptures. Paying tribute to an extraordinary artist, this book showcases his vivid and mysterious work.