Bøker utgitt av D Giles Limited

A celebration of the Public Art Initiative at the Buffalo AKG Art Museum, a unique initiative in the museum landscape of North America.This initiative launched in 2013 as the Buffalo AKG (then the Albright-Knox Art Gallery) became the first and only museum in North America to act as a producer of art for shared civic (non-museum) public spaces. The results over the past 10 years have been wide-ranging, including more than 60 installations, interventions, collaborations, and commissions with more than 80 artists to date. These dynamic installations are now among the most recognizable elements of the landscape of the Western New York region.In this expansive and lavishly illustrated volume, curator of Public Art Aaron Ott and long-time project coordinators Zack Boehler and Eric Jones offer their insights on critical moments in the initiative's development, crucial interactions with community collaborators, and the various means by which the initiative supports artists to realize their works. An introduction by Peggy Pierce Elfvin Director Janne Sirén provides additional context about the genesis of the initiative, which relates to his experiences stewarding a public art program in Helsinki, Finland.As the Buffalo AKG Art Museum continues to be a ground-breaking leader in the production of a wide range of public works over vast geographies and communities, this book reflects on the most significant works during that period. Each project over the course of the initiative's 10-year existence is included in the book, making use of the incredible archive of photographic documentation the museum has undertaken. In addition, a dozen participating artists offer their own reflections, personal insights, and memories about their work with the Buffalo AKG.

"This book is in the Frick Collection's Diptych series, which is designed to interest the specialist and non-specialist alike. Each volume illuminates a single work in the museum's rich collection with an essay by a Frick curator paired with a contribution from a contemporary artist or writer. This volume focuses on Pieter Bruegel the Elder's The Three Soldiers and includes an essay by Anna-Claire Stinebring, former Anne L. Poulet Curatorial Fellow at the Frick, and a contribution by artist Salman Toor"--

The first major monographic publication in English on the work of Blanche Hoschedé-Monet (1865-1947), the step-daughter, and later, daughter-in-law, of Claude Monet.Accompanying an eponymous exhibition, Blanche Hoschedé-Monet in the Light is the first volume to introduce this important woman artist, whose life and work were shaped by the artistic community she helped build at Giverny, and is the result of a long-term collaboration between French and American scholars. Across four essays, the authors approach Hoschedé-Monet's art and life through a variety of viewpoints. Drawing on previously unpublished sources, including Blanche's sketchbook, and new photography of Hoschedé-Monet's largely unknown artworks, this new book constitutes a definitive account of her life and art.The volume brings together approximately forty-six paintings from both French and American public and private collections, the vast majority of which have never been on seen in the United States. Three paintings by Claude Monet-- Le Bassin d'Argenteuil (1874), Cliff Walk at Pourville (1882), and Morning on the Seine, Giverny (1897) illustrate points of comparison and divergence between Claude Monet and Blanche Hoschedé, the only one of the Hoschedé or Monet children to pursue painting.

"Celebrated internationally in the nineteenth century as America's premier architect, Richard Morris Hunt (1827-1895) is best known for his opulent Gilded Age mansions, including Biltmore, the Breakers, Marble House, and other landmark works. Yet Hunt's impact on American culture after the Civil War ranges far beyond his elegant palaces. In The Gilded Life of Richard Morris Hunt, historian Sam Watters reveals Hunt's remarkable influence in creating the institutions and conventions that transformed Old World values into his generation's idea of an American civilization, through architecture, interior design, sculpture, painting, and the ardent advocacy of artisan trades. The first American to study at the renowned âEcole des Beaux-Arts in Paris, Hunt cultivated a transatlantic network of wealthy, influential men during a period of class revolution. Fearful of losing their industrial fortunes and values to the laboring immigrant poor-and driven by a moral obligation to instruct the masses in what was beautiful, true, and good-Hunt's society concurred on what was needed to define, protect, and perpetuate their ideas of a civil society. To this end and to instill the Eurocentric culture required for global acceptance and dominance, they conceived and built museums, libraries, skyscrapers, apartment houses, and castles. Watters repositions Hunt's life and forty-year career in light of new discoveries and connections made through his meticulous study of the Richard Morris Hunt Collection at the Library of Congress. Featuring Hunt's drawings, images he collected, and portraits of his family and privileged inner circle, this dynamic biography evokes the powerful social and financial networks that defined the contours and content of American culture. This visually rich portrait of life and thought among America's ruling one percent features 200 illustrations that include selections from the Library's archives, along with illuminating new floor plans and photographs"--

"Published in conjunction with an exhibition at the Morgan Library & Museum in 2024, this publication tells the story of the artistic collaborations of the Ballets Russes, drawing upon the Robert Owen Lehman Collection of music manuscripts to illuminate this rich history. The book weaves together the careers of the ballet company's creators, featuring Igor Stravinsky, Claude Debussy, Michel Fokine, Bronislava Nijinska, and Lâeon Bakst, interspersed with illustrations of autograph manuscripts, choreographic notations, and stage designs associated with their works. Authors Robinson McClellan, Assistant Curator of Music Manuscripts and Printed Music at the Morgan Library, and Lynn Garafola, dance historian, examine key ballets such as "Firebird," "Petrouchka," "Afternoon of a Faun," and "Bolero," as well as the influence of the impresario Serge Diaghilev, who founded the troupe at the height of the Belle âEpoque"--

A new survey of the life, creative spirit, and career of Robert W. Ebendorf, one of America's most important artists in the field of found-object jewelry and metalwork.Robert Ebendorf (b. 1938) has been one of the most influential artists in the studio jewelry movement from its beginning in the 1960s to today. His work combines exceptional craftsmanship, acquired through traditional training in gold- and silversmithing, with the inventive use of found objects and other alternative materials such as acrylic and ColorCore. Objects of Affection traces his development from the Scandinavian modernism of his early work to his first use of found objects such as tintype photographs in the 1960s; juxtapositions of colored acrylic and precious metals in the 1970s; use of found newspaper and other textual elements in the 1980s; his pivotal incorporation of animal parts in the 1990s; and the remixing and further development of many of these approaches in the twenty-first century.Unique features of this highly collectable volume are its special focus on Ebendorf's work of the last two decades, his friendship with collectors Ron Porter and Joe Price, and his activities during his time in North Carolina. Also of note are the inclusion of selected works by graduates and faculty of East Carolina University (ECU) jewelry program that Ebendorf led from 1997 to 2016; preparatory sketches by Ebendorf; and collages included by him in many of the letters and postcards he has written over the course of his career. Many of these letters feature printed ephemera, in addition to sketches. And it is this ephemeral and archival aspect of the PorterˑPrice Collection which sets it apart from other publications on Ebendorf's work.

"Produced in conjunction with the exhibition All aboard: the railroad in American art, 1840 1955, on view at Shelburne Museum, Vermont, from June 21, 2024, to October 20, 2024; Dixon Gallery and Gardens, Memphis, from November 2, 2024, to January 24, 2025; and Joslyn Art Museum, Omaha, from February 15, 2025, to May 4, 2025." -- title page verso.

New volume in the Cleveland Masterwork Series focuses on a studio of important late nineteenth through early twentieth-century Japanese ceramic artists.This is the first comprehensive look in English at the Seifū Yohei Ceramic Studio in Kyoto, from the Meiji period (1868-1912) to the mid Shōwa period (1926-89), the James and Christine Heusinger Collection at the Cleveland Museum of Art as its core material. The principal essay provides a biography of Seifū Yohei III, the star of the studio and the first ceramist to be named an Imperial Household Artist, as well as an overview of the studio that contextualises it in the world of literati painting, sencha (steeped green tea) and international trade. A second essay offers a brief history of porcelain production in Kyoto, as well as a discussion of objects produced by the Seifū studio for sencha. This catalogue of a hundred works examines the wide variety of forms, decorative techniques and glazes that made the studio's works unique.

"Zao Wou-Ki (1920-2013) was the first artist of the Chinese diaspora to achieve international recognition and was one of France's most important painters of the post-war era and beyond. His large abstract canvases were in step with those of New York School artists of the late 1940s and 50s and emerged from the growing international impulse for non-objective painting. Zao married western vanguard painting with Chinese traditions of calligraphy and ink-drawing and in doing so created a powerful personal aesthetic that was uniquely his own. Drawn largely from European private collections, the works of art in this catalog have almost never been exhibited before and were deeply personal to the artist. Zao worked in watercolor throughout his long life and this catalog features examples from as early as 1960. But during his last years, the artist rediscovered the medium with newfound enthusiasm and turned increasingly to nature as the source of inspiration. In 2008, he gave up oil-painting entirely, and for the next two years, watercolor was his primary form of expression. The ceramics consist of two main groups--plates produced in the late 1970s in association with Sâevres, bearing designs created by Zao expressly for this purpose, and later designs from the 2000s painted directly on vases, bowls and plates that were subsequently editioned by Maison Bernardaud in Limoges." --

"In celebration of the centenary of the Smithsonian's National Museum of Asian Art, this volume explores a range of artistic, historical, and technical exchanges that shaped the arts of Asia and late nineteenth-century America, through the juxtaposition of object-based, localized micro-histories. The richly illustrated volume features approximately 33 short essays, each taking a single object as a starting point to unravel complex, interconnected histories. Written by curators, scientists, conservators, and other museum staff, this multifaceted work explores issues of the circulation of materials, objects, and technology, which have long predated the contemporary period. This approach encourages readers to appreciate well known masterpieces as well as lesser known and unpublished works from a new perspective and focus on networks of artistic, cultural, and historical connections that shaped their meaning and significance"--

"Focusing on Titian's "Man in a Red Hat," the latest volume in the Frick Diptych series pairs an essay by Giulio Dalvit, Assistant Curator of Sculpture at The Frick Collection, with a contribution by the contemporary artist Elizabeth Peyton"--