Since the mid-1980s, Ginny Ruffner has been recognized worldwide as one of the major artists of the modern studio glass movement. Her lampworked glass sculpture, which has been selected for shows and museums in Switzerland, Australia, Japan, and the United States, has dazzled audiences with its playful imagery, insightful allusions, and intelligent commentary. In Why Not? The Art of Ginny Ruffner, author Bonnie J. Miller captures Ruffner's creative imagination and indomitable spirit. Drawing on ten years of writing about glass art in the Northwest and seven years of acquaintance with Ruffner's work, Miller analyzes her art with candor, humor, and a gifted critical eye. The voices of philosopher and art critic Arthur Danto and the artist herself add to the story of Ruffner's remarkable life and work, complementing the full-color illustrations of more than fifty major works.

Why Not?: The Art of Ginny Ruffner

Arts & Photography

Danto, Arthur

Miller, Bonnie J.

Individual Artists

School for Advanced Research/Sar pr

A monograph of the paintings of Tansey. Notes and commentary by Mark Tansey; essay by Arthur C. Danto. 143 pages; color plates and b&w text illustrations throughout; 9 x 11.5 inches. Exhibition history, bibliography, index to the plates.

Mark Tansey: Visions and Revisions

Harry N. Abrams

Since the beginning of her career, in Belgrade in the late 1960s, Marina Abramovic has been a pioneer of performance art, creating some of the most important works in the field. Marina Abramovic: The Artist Is Present accompanies an exhibition at The Museum of Modern Art that documents approximately 50 of the artist's ephemeral time- and media-based works from throughout her career. The book also discusses a unique element of the Museum's retrospective, live performance: a new work created for the occasion, and performed by Abramovic herself; and re-creations of the artist's works by other performers―the first such to be undertaken in a museum setting. The book spans over four decades of Abramovic's early interventions and sound pieces, video works, installations, photographs, solo performances and collaborative performances made with the Dutch artist Ulay (Uwe Laysiepen). Essays by Klaus Biesenbach, Chief Curator of Media and performance art at MoMA, and four distinguished scholars examine Abramovic's ideas of time, duration and the reperformance of performance art as a way to extend it into posterity. The Artist Is Present also includes a CD with audio commentary by the artist that guides the reader through the publication. The artist is present not only in the exhibition but also in the experience of the book.Born in Belgrade just after the end of the Second World War, Marina Abramovic was raised in the Serbian Orthodox Church (her great uncle was a Patriarch and a canonized saint in the Church) and left Yugoslavia in 1976, having already established herself as a performance artist, living in Amsterdam and eventually New York, where she presently lives.

Marina Abramovic: The Artist is Present

SPECTOR, Nancy

Iles, Chrissie

Stokic, Jovana

Reference

The Museum of Modern Art, New York

Leon Golub is best known for his large-scale paintings of violence and the abuse of power, scenes as colossal in brutality as they are in size. But, throughout his long career, Golub was a prolific draftsman as well. With subjects ranging from the classical to the erotic, and media ranging from oil sticks, to conte crayons, to inks, to acrylics, Golub's drawings interrogate the condition of our world. His first major drawing period began when he was a student in the 1940s. He began to articulate the figure in motion as he embraced Graeco-Roman sculpture, and in recent years (2000-2004) his drawings became more informal and spontaneous, with subjects ranging from aggression to erotic fun and games. Don't Tread on Me! features beautiful color reproductions and is the first book dedicated exclusively to Golub's provocative mastery of the figure.

Leon Golub: Don'T Tread On Me!: Drawings: 1947-2004

Enright, Robert

Dreishpoon, Douglas

Walsh, Meeka

STORR, Robert

Ronald Feldman Fine Arts/Griffin Contemporary/Anthony Reynolds Gallery

"What makes something a work of art?" This was the question that philosopher Arthur C. Danto (1924–2013) asked himself after seeing Andy Warhol’s "Brillo Box" at a 1964 exhibition at the Stable Gallery in New York City. The philosophy of art was not Danto’s primary area of inquiry at the time, but Warhol’s work prompted him to return to this question over several decades. Danto, professor of philosophy at Columbia University since the 1960s and art critic at The Nation from 1984 to 2009, delivered the previously unpublished lectures presented in this volume at the Acadia Summer Arts Program in Mount Desert Island, Maine, from 1997 through 2009. They explicate the ideas that he set forth in professional philosophical papers and books, including The Transfiguration of the Commonplace (1981), which describes his philosophy of art. Informal yet deeply thought-provoking, these lectures explore how Danto analyzed art through a philosophical lens, yielding an approach that differs from most other contemporary art criticism. Danto’s thoughts on art go beyond formal analysis and taste judgments, instead focusing on questions about the nature of art and attempting to define what a work of art is. These lectures present some of his most notable ideas in terms that those with no training in philosophy can readily understand.

Arthur C. Danto: Remarks on Art and Philosophy

History & Criticism

A.S.A.P.

This catalogue accompanies an exhibition of a new work by Sarah Sze (born 1969) at The Fabric Workshop and Museum in Philadelphia. Sze's immense and intricate site-specific works are akin to drawings in space, manipulating architectural spaces to profoundly affect the way they are viewed. This work was installed on three floors of the museum, virally traversing the exhibition spaces and creating a narrative that unfolds as viewers navigate the galleries and experience Sze's reflections on time, exploration of movement and investigation of materials. Each gallery floor presents a singular experience, yet viewing all three spaces is cumulative, akin to experiencing separate acts in a theatrical production. The catalogue illustrates multiple views of each gallery floor. Along with essays by Jonathan Gilmore and Jeffery Kastner, this volume includes a 2011 essay on Sze by the late philosopher and art critic Arthur C. Danto.

Sarah Sze at The Fabric Workshop and Museum

Gilmore, Jonathan

Kastner, Jeffrey

The Fabric Workshop and Museum

The updated edition of the definitive, authorized catalogue raisonne of Andy Warhol's prints, reproducing more than 1,700 prints -- all in full color with complete scholarly documentation
Andy Warhol: Prints, in its fourth edition, with corrections, is the definitive scholarly reference source for collectors, auction houses, libraries, curators, academics and art dealers. Andy Warhol spent his career working so prodigiously as to assure long-lasting renown. In the printmaking field alone, his output was prolific, and his appropriation of silkscreen as a fine-art medium forever altered the way prints look. This thoroughly revised and expanded fourth edition of Andy Warhol Prints: A Catalogue Raisonne 1962–1987 traces Warhol's complete graphic oeuvre from his first unique works on paper in 1962 through his final published portfolio in 1987.
 More than 1,700 works are illustrated, an increase of 500 from the previous edition of the catalogue raisonné, and complete documentation is provided for each. New additions include a section focusing on Warhol's popular portraits, with documentation of prints that were related to paintings commissioned during the 1970s and 1980s, and a new supplement featuring prints and illustrated books from the 1950s, including the beloved 25 Cats Named Sam and One Blue Pussy.
 An essay by Donna De Salvo addresses Warhol's self-published books and portfolios from the same era. An extensive chronology of printmaking activity, a complete exhibition history, a selected bibliography and a greatly expanded appendix to published prints complete the book.

Andy Warhol Prints: A Catalogue Raisonné 1962-1987

deSalvo, Donna

D.A.P/Ronald Feldman Fine Arts/Andy Warhol Foundation for the Visual Arts

In October of 2002, Aperture released a 240-page golden-anniversary hardcover book that comprises, in effect, the pictorial history of the second half of the twentieth century. The book features 250 images by photographers published by Aperture magazine over the past 50 years--from the masters of the twentieth century to today's emerging innovators. More than 40 images in the book have never before been published. The book traces Aperture's fascinating history as well as the currents in photography that have brought the medium to its present status as one of the most important art forms. It demonstrates how Aperture has shaped this evolution while expanding the international audience for photography and the visual arts.

Photography Past/Forward: Aperture at 50

Cravens, R.H.

Madonna, *

Photography & Video

Aperture

La Transfiguration du banal: Une philosophie de l'art

SEUIL

Le chef-d'oeuvre était anciennement la preuve de l'excellence que devait présenter l'artisan pour être promu à la maîtrise dans sa corporation. Le terme a pris une nouvelle signification depuis la fin du XVIIIᵉ siècle, période marquée par la formation d'un nombre croissant de musées, dont celle du musée du Louvre en 1793.L'élection de certaines oeuvres jugées, selon des critères propres à chaque société, au-dessus des autres reflète l'évolution du goût. Mais la permanence dans l'estime et la fascination qu'exercent certains chefs-d'oeuvre peuvent donner à penser que ceux-ci se situent au-delà des fluctuations du goût, à un niveau complexe de rapports entre le spectateur et l'oeuvre, de façon, semble-t-il, objective. Qu'en est-il de cette "objectivité" ?Cette interrogation se faisant au niveau international, plusieurs historiens de l'art, dont les directeurs de deux importants musées, s'interrogent sur ce sujet et nous font part de leurs réflexions. Cet ouvrage est issu d'un cycle de conférences organisées par le Service culturel du musée du Louvre en 1998.

Qu'est-ce qu'un chef-d'oeuvre ?

MacGregor, Neil

Belting, Hans

COLLECTIFS

Spies, Werner

Galard, Jean

Waschek, Matthias

Hansmann, Martina

Gallimard]

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