Deborah Butterfield transforms pieces of scrap metal and found wood into majestic, life-size horse sculptures that are, as art historian Wayne L. Roosa has written, "like ancient, noble archaeological remains, skeletal and grand." Her sculptures also may be the first works to explore the interior lives of horses - a long overdue answer to centuries of martial and monumental equine art. This volume presents a retrospective look at this important American artist. At the core of the book are color photographs of the sculptures, installed in galleries, in the artist's studios, and at Walla Walla Foundry. An insightful essay by novelist and horsewoman Jane Smiley sensitively captures the depth of Butterfield's passion for horses both living and sculpted. John Yau, poet and art critic, adds a formal analysis of the artist's work. In a selection of poems, the late poet Vicki Hearne, a close friend of Butterfield's, translates this world of horse-human dialogue. Robert Gordon has followed the artist's career for a quarter century and brings unique insight and vision to her body of work.

Deborah Butterfield

Arts & Photography

Robert Gordon

John Yau

Vicki Hearne

Jane Smiley (introduction)

History & Criticism

Harry N. Abrams

"This publication considers the work of William Bailey (b. 1930), the Kingman Brewster Professor Emeritus of Art at Yale and one of the Universitys most distinguished studio art faculty members since Josef Albers. Baileys career has been marked by a dedication to representational painting-placing him alongside artists like Janet Fish, Audrey Flack, Alex Katz, and Philip Pearlstein, who defied the dominant taste for abstraction in the mid-20th century. From his career-long iterations of tabletop still life that began in the 1960s to his ongoing commitment to the human figure, Bailey concentrates on the rudiments of representational art: form, color, line, medium, surface, and light. His artistic inspirations span centuries, from Raphael and Piero della Francesca to Giorgio de Chirico, Giorgio Morandi, and Piet Mondrian, with Jean-Auguste-Dominique Ingres and Paul Cézanne in between. Published in conjunction with Baileys inaugural museum retrospective, held at the Yale University Art Gallery, this book is the first on his work in nearly 30 years. Full-color plates capture the meditative quality of his paintings, drawings, and prints; special attention is given to his still-life paintings in oil, such as the Gallerys "Still Life-Table with Ochre Wall" (1972). Two in-depth essays offer complementary perspectives on Baileys work, and an interview with the artist by his former student Clifford Ross captures his voice and approach to the world. While Bailey is revered by generations of Yale graduates, this volume introduces him to a deservedly wider audience and presents an illuminating study of his work for the future"--

William Bailey: Looking Through Time

Clifford, Ross

Mark D. Mitchell

Yale University Art Gallery, New Haven CT

Jess: Emblems for Robert Duncan : San Jose Museum of Art

Jess

San Jose Museum of Art

A beautifully produced book cataloging some of the remarkable American Outsider Art in the collection of Janice and Mickey Cartin.

In Pursuit of the Invisible: Selections from the Collection of Janice and Mickey Cartin

Collections, Catalogs & Exhibitions

Hard Press Editions

James Castle: The Common Place

Knoedler & Co

Richard Pousette-Dart: Mythic Heads and Forms: Paintings and Drawings from 1935 to 1942

Knoedler & Company

Catherine Murphy: New Work

Daniel Douke

Peter Mendenhall Gallery

Revised and Restored: The Art of Kathleen Gilje

Linda Nochlin

Peter C. Sutton

Francis M. Naumann

Robert Rosenbaum

Bruce Museum, Greenwich, Ct

The great ceramist George Ohr (1857-1918) was boastful, combative, deliberately eccentric and hugely ambitious. He called himself the Mad Potter of Biloxi and once told an interviewer, "When I am gone, my work will be praised, honored, and cherished." He was right about that. But the roughly 50 bowls, cups, vases and pitchers in this stunning exhibition testify to a creative sensibility much different from his bumptious public persona. They are marked by an exquisite delicacy of touch, a subtle sense of humor, an extraordinary formal sophistication and a Picasso-like inventiveness.

George Ohr Pottery: “No Two Alike”

Craig Starr Gallery

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Books by John Yau