INSIDE OUT LOUD, VISUALIZING WOMEN'S HEALTH IN CONTEMPORARY ART by Janine Mileaf. Great exhibition catalog featuring art and artist about women and their health in modern society. Over 60 color illustrations of works of art - paintings, drawings, photographs, video, mixed media, installations. Illustrated artists include: Cindy Sherman, Faith Ringgold, Kiki Smith, Hannah Wilke, Kerry James Marshall, Orlan, Martha Rosler, Jenny Holzer, Barbara Kruger, Mark Dion, Zoe Leonard, Gran Furry, Jean Dunning, Nan Goldin, and other artists. Includes timeline, exhibit checklist and bibliography. Published by Washington University Gallery of Art, St. Louis and Kemper Art Museum, Kansas City. 2004.

Inside Out Loud: Visualizing Women's Health in Contemporary Art

Arts & Photography

Mileaf, Janine

History & Criticism

Mildred Lane Kemper Art Museum

Touch suggests a broad range of physical, intellectual, and emotional connections that serve to undermine the dominance of vision in histories of modernism. By exploding notions of the very nature of art, the artists considered in this beautifully illustrated monograph introduced fundamentally new conceptions of subjectivity and engagement for the modernist era. While offering an entertaining and engaging history of dada and surrealism, Please Touch presents a persuasive argument highlighting the role of "tactility," which it defines as a decentralized, fragmented, and intimate form of knowing. In this compelling volume, Janine Mileaf offers the first full-length consideration of Marcel Duchamp's readymades and their profound legacy in the transatlantic context of dada and surrealism. This book embraces a broad range of art objects: consumer items such as the urinal and bottlerack that Duchamp "sneaked" into art exhibits; flea-market assemblages fabricated by his interwar avant-garde successors Man Ray, Andre Breton, Salvador Dali, Meret Oppenheim, and others; and the bricolage boxes of American surrealist Joseph Cornell. Please Touch is an intriguing exploration of some of the twentieth century's most important art and artists that will appeal to a broad range of art historians and interdisciplinary scholars.

Please Touch: Dada and Surrealist Objects After the Readymade (Interfaces: Studies in Visual Culture)

Dartmouth College

Touch suggests a broad range of physical, intellectual, and emotional connections that serve to undermine the dominance of vision in histories of modernism. By exploding notions of the very nature of art, the artists considered in this beautifully illustrated monograph introduced fundamentally new conceptions of subjectivity and engagement for the modernist era. While offering an entertaining and engaging history of dada and surrealism, Please Touch presents a persuasive argument highlighting the role of “tactility,” which it defines as a decentralized, fragmented, and intimate form of knowing. In this compelling volume, Janine Mileaf offers the first full-length consideration of Marcel Duchamp’s readymades and their profound legacy in the transatlantic context of dada and surrealism. This book embraces a broad range of art objects: consumer items such as the urinal and bottlerack that Duchamp “sneaked” into art exhibits; flea-market assemblages fabricated by his interwar avant-garde successors Man Ray, André Breton, Salvador Dalí, Meret Oppenheim, and others; and the bricolage boxes of American surrealist Joseph Cornell. Please Touch is an intriguing exploration of some of the twentieth century’s most important art and artists that will appeal to a broad range of art historians and interdisciplinary scholars.

Please Touch: Dada and Surrealist Objects after the Readymade (Interfaces: Studies in Visual Culture)

Dartmouth College Press

In the early 20th century, visual artists began to think of the newspaper as the basis for verbal and visual puns, as a source of found language and images, as a means to mark time and place or express political criticism. Shock of the News - its title playing on that of Robert Hughes’ popular BBC television series and book The Shock of the New (1980) - traces the newspaper’s impact on modern art from 1909 to 2009.

Shock of the News

Brodie, Judith

Boxer, Sarah

Poggi, Christine

Witkovsky, Matthew S.

Lund Humphries

Along with Russian Constructivism and Surrealism, Dada stands as one of the three most significant movements of the historical avant garde. Born in the heart of Europe in the midst of World War I, Dada displayed a raucous skepticism about accepted values. Its embrace of new materials, of collage and assemblage techniques, of the designation of manufactured objects as art objects as well as its interest in performance, sound poetry and manifestos fundamentally shaped the terms of modern art practice and created an abiding legacy for postwar art. Yet, while the word Dada has common currency, few know much about Dada art itself. In contrast to other key avant-garde movements, there has never been a major American exhibition that explores Dada specifically in broad view. Dada--the catalogue to the exhibition on view in 2006 at the National Gallery of Art in Washington and The Museum of Modern Art in New York presents the hybrid forms of Dada art through an examination of city centers where Dada emerged: Zurich, Berlin, Cologne, Hanover, New York and Paris. Covered here are works by some 40 artists made in the period from circa 1916, when the Cabaret Voltaire was founded in Zurich, to 1926, by which time most of the Dada groups had dispersed or significantly transformed. The city sections bring together painting, sculpture, photography, collage, photomontage, prints and graphic work. Relying on dynamic design and vivid documentary images, Dada takes us through these six cities via topical essays and extensive plate sections; an illustrated chronology of the movement; witty chronicles of events in each city center; a selected bibliography; and biographies of each artist--accompanied by Dada-era photographs.

Dada: Zurich, Berlin, Hannover, Cologne, New York, Paris

TAYLOR, MICHAEL

Dietrich, Dorothea

Dickerman, Leah

Powell, Earl

Doherty, Brigid

Kriebel, Sabine

Witkovsky, Matthew

Reference

D.A.P./The National Gallery of Art, Washington

Preceded by the heroic modernism of the 1920s and abruptly curtailed by World War II, the heterogeneous art movements of the 1930s have been comparatively neglected as concurrent cultural phenomena. The 30s were much more than a period of transition or crisis, witnessing as they did the massive expansion of Surrealism, and fervent debate between new movements in abstract and realist painting. Political turbulence was of course rife at this time, with the rise of totalitarian governments and the outbreak of the Spanish Civil War, provoking a fluid migration of artists across borders and unlikely exchanges of ideas. Published to coincide with a major exhibition at the Reina Sofía Museum in Madrid, Encounters with the 30s explores the micro-histories of the decade. Surrealism is covered in detail, along with abstract art (such as the Concrete Art, Circle, American Abstract Artist and Abstraction–Creation movements) and Mexican Realism, and key exhibitions of the period (such as the Nazis’ “Degenerate Art” shows and the World Fairs); photography, political poster art and the Spanish Civil War comprise other sections. The monograph is amply illustrated with works by Arp, Brassaï, Calder, Delaunay, Ernst, Gabo, Hepworth, Miró, Picasso, Weston and many lesser known artists of the era.

Encounters with the 30s

Wood, Paul

Schnapp, Jeffrey T.

Oles, James

Collections, Catalogs & Exhibitions

La Fábrica/Museo Nacional Centro de Arte Reina Sofía

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