Picasso and Braque offers an intimate look at one of the most pivotal exchanges in the history of Western art: the culminating two years (1910-12) of Analytic Cubism. While the Cubist experiment has long been a requisite chapter in the history of modernism, this is the first publication to delve deeply into these two intense years of productivity, revealing the intriguing pictorial game being played out between these two great masters. 
Essays by prominent curators and historians offer sustained readings of paintings, drawings, and prints in terms of their engagement with issues of genre, format, medium, and artistic process. In addition, the new technology of spectral imaging provides reproductions of astounding color and textural fidelity, making this an essential publication for those seeking to understand better the complexity of Picasso's and Braque's mark-making, which typically evades conventional photography.

Picasso and Braque: The Cubist Experiment, 1910-1912

Arts & Photography

Palermo, Charles

Bourneuf, Annie

Poggi, Christine

Cooper, Harry

Barry, Claire M.

Kahng, Eik

Devolder, Bart

History & Criticism

Kimbell Art Museum

In 1909 the poet Filippo Tommaso Marinetti published the founding manifesto of Italian Futurism, an inflammatory celebration of "the love of danger" and "the beauty of speed" that provoked readers to take aggressive action and "glorify war--the world's only hygiene." Marinetti's words unleashed an influential artistic and political movement that has since been neglected owing to its exaltation of violence and nationalism, its overt manipulation of mass media channels, and its associations with Fascism. Inventing Futurism is a major reassessment of Futurism that reintegrates it into the history of twentieth-century avant-garde artistic movements.
 Countering the standard view of Futurism as naïvely bellicose, Christine Poggi argues that Futurist artists and writers were far more ambivalent in their responses to the shocks of industrial modernity than Marinetti's incendiary pronouncements would suggest. She closely examines Futurist literature, art, and politics within the broader context of Italian social history, revealing a surprisingly powerful undercurrent of anxiety among the Futurists--toward the accelerated rhythms of urban life, the rising influence of the masses, changing gender roles, and the destructiveness of war. Poggi traces the movement from its explosive beginnings through its transformations under Fascism to offer completely new insights into familiar Futurist themes, such as the thrill and trauma of velocity, the psychology of urban crowds, and the fantasy of flesh fused with metal, among others.
 Lavishly illustrated and unparalleled in scope, Inventing Futurism demonstrates that beneath Futurism's belligerent avant-garde posturing lay complex and contradictory attitudes toward an always-deferred utopian future.

Inventing Futurism: The Art and Politics of Artificial Optimism

Princeton University Press

'There's nothing more difficult than a line.' - Pablo Picasso Picasso: Seven Decades of Drawing surveys Pablo Picasso's prodigious career as a draftsman, including over 40 examples on loan from private collections spanning nearly 70 years of the artist's long and celebrated career. The book showcases drawings in a wide range of media, from works in charcoal and crayon to coloured pencil, collage or papiers collés, graphite, gouache, ink, pastel, and watercolour. Some of the drawings on loan are rarely on view and they provide insight into the evolution of his iconic paintings, such as Les Demoiselles d'Avignon and Guernica, while others stand alone as virtuoso, independent works, highlighting Picasso's mastery of line, form, and medium. The book ultimately examines how drawing serves as the vital thread connecting all of Picasso's art.

Picasso: Seven Decades of Drawing

Berggruen, Olivier

Rizzoli

The journey of collage has witnessed material and technological shifts from scissors and glue to image appropriation, rephotography, arrangements of pictures and digital image renderings. But the logic of collage has endured since its inception. The Ends of Collage anthologizes texts on collage ranging from the early 20th century to the present. The theoretical motivations that precipitated the emergence of collage are placed in conversation with those that expanded the medium beyond its traditional limits in the late 1970s, with the rise of digital culture. The 19 essays gathered here are written by acclaimed artists, theorists and historians such as Yuval Etgar, Herta Wescher, Christine Poggi, Clement Greenberg, Elza Adamowicz, Louis Aragon, Max Ernst, Jean Arp, Hannah Höch, Benjamin H. D. Buchloh, Brandon Taylor, John Stezaker, Groupe ?, Craig Owens, Douglas Crimp, Richard Prince, Sherrie Levine, Martha Rosler and Ali Smith.

The Ends of Collage

Etgar, Yuval

Wescher, Herta

Collections, Catalogs & Exhibitions

Luxembourg & Dayan

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

Mileaf, Janine

Witkovsky, Matthew S.

Lund Humphries

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Books by Poggi, Christine