Landscape is a subject of seemingly infinite variation and imaginative possibility. The Paul G. Allen Family Collection reveals a marked interest in innovative artists' reflections on the land and sea. The works in the collection span over four hundred years, chronicling key developments in painting and art history. This book uses the Allen Family Collection to explore the evolution of landscape painting through the ages. The artists in the collection represent a who's who of masters of the landscape tradition. The book opens with a series of masterpieces by Jan Brueghel that serve as a starting point for understanding the historical trajectory of landscape painting, before moving on to 18th-century artists Canaletto and Moran and Impressionists such as Cezanne, Van Gogh, and Monet. Rounding out the survey are works by modern and contemporary visionaries including Max Ernst, Thomas Hart Benton, Edward Hopper, and David Hockney. Thirty-nine paintings in all are featured in book, each accompanied by detailed essays that comprise a full discussion of the formal intellectual development of the landscape form.

Seeing Nature: Landscape Masterworks from the Paul G. Allen Family Collection

Arts & Photography

Manchanda, Catharina

Junker, Patricia A.

Prior, Mary Ann

Chapin, Mary Weaver

Taylor, Sue

Ishikawa, Chiyo

Carr, Dawson W.

Rorschach, Kimerly

Ferriso, Brian J.

Painting

University of Washington Press

Pop Departures (Seattle Art Museum)

History & Criticism

Yale University Press

Barbara Earl Thomas?s new body of work carries within it the sediments of history and grapples with race and the color line. At the heart of it lies a story of life and death, hope and resilience?a child?s survival. With her quietly glowing portraits of young Black boys and girls, Thomas puts before us the humble question: can we see, and be present to, the humanity, the trust, the hopes and dreams of each of these children? The Geography of Innocence offers a reexamination of Black portraiture and the preconceived dichotomies of innocence and guilt and sin and redemption, and the ways in which these notions are assigned and distorted along cultural and racial lines. Two interconnected visual arguments unfold: a portrait gallery of children from the artist?s extended community and an illuminated environment that appears like a delicate paper lantern. To accompany the visual elements, the book?s essays examine Thomas?s work in the context of different art historical portraiture traditions and political relevance. Thomas also contributes an interview and an essay reflecting on the current climate in which the work exists.

Barbara Earl Thomas: The Geography of Innocence

Taha, Halima

Thomas, Barbara Earl

Seattle Art Museum

Models and Prototypes is the first exhibition in the Focus series, a collection-based series of publications and exhibitions intended to examine significant works from the Mildred Lane Kemper Art Museum's collection within the context of contemporary discourses. As a preparatory step, models have always occupied a special place in the context of artistic production. This changed in the twentieth century when many artists set out to redefine the parameters of art and artistic production. With new artistic objectives, structural and conceptual models emerged as complete and viable works of art in and of themselves. Beginning in the 1910s, the model – conceived as a system defined by a set of rules – became increasingly important, as did boxes, model-scale display cases, and architectural maquettes. Marcel Duchamp and many Conceptual artists of the 1960s radically challenged existing definitions of the artwork with the help of structural and conceptual models and the emergence of  an emphasis on multiples. The centrality of models for contemporary artists, many of whom are also interested in social and historical issues, presses the question of why they became and remain such a compelling subject and tool. Models and Prototypes includes artwork by Mark Bennett, Joseph Beuys, Daniel Buren, Thomas Demand, Marcel Duchamp, Isa Genzken, Jenny Holzer, Wassily Kandinsky, Claus Oldenburg, Edward Ruscha, and Katrin Sigurdadottir, among others. Essay by curator Catharina Manchanda, Ph.D., Mildred Lane Kemper Art Museum.

Models and Prototypes (Volume 1) (Focus Series)

Mildred Lane Kemper Art Museum

As an icon of beauty and an object of desire, the blonde has captivated the American public for nearly a century.In the 1950s, Hollywood began casting attractive blondes as figures that combine chaste purity and sexual allure. Based on a forthcoming exhibition at the Mildred Lane Kemper Art Museum, "The Blonde in American Art and Popular Culture, 1960 1990 "critically examines representations of the female blonde during three formative decades of American cultural history. Accompanied by essays that situate the artworks in their historical context as well as supplemental images from American mass media, this lushly illustrated volume investigates how representations of blondeness in popular culture were appropriated and reexamined by American artists in painting, film, sculpture, and photography. Featuring work by John Baldessari, Lynn Hershman Leeson, Jeff Koons, Roy Lichtenstein, Robert Rauschenberg, Cindy Sherman, Andy Warhol, and other postmodern masters, "The Blonde in American Art and Popular Culture, 1960 1990 "will be an essential read for anyone interested in the juncture of high art and mass culture in the twentieth century."

The Beauty and the Blonde: An Exploration of American Art and Popular Culture (Focus Series)

Mildred Lane Kemper Art Museum at Washington University

This limited-edition volume of 1,000 copies accompanies South African artist Robin Rhode's first solo survey exhibition at a U.S. museum, Ohio's Wexner Center. Raised in Cape Town and Johannesburg, Rhode has gained recognition with his playful photography, video and installation works that often reference graffiti culture and combine drawing and performance. Rhode's focus is on the tensions between the liberating energies of the individual's imagination and the confines of media-driven stereotypes and received conceptions of identity. Catch Air features 12 of Rhode's signature photographic sequences related to his drawing/performances, several digital animations, films, videos and an installation of sculptural objects. It also contains eight foldout pages that fully document selected works, including the complete nearly 200-image sequence "Color Chart" (2004- 2006), and a lengthy interview between Robin Rhode and Catharina Manchanda, Wexner Center Senior Curator of Exhibitions.

Robin Rhode: Catch Air (WEXNER CENTER F)

Tancons, Claire

Individual Artists

Wexner Center for the Arts

See the best price to sell, buy, or rent books by Manchanda, Catharina. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by Manchanda, Catharina