From the Introduction:The intercontinental reach of Dar al-Islam, or the Islamic world, today touches all continents. This catalogue (like the exhibition it enhances) embraces this global reality to take the most expansive and inclusive vision of how many art practices have historically intersected with Islam and how they continue to do so. Through key works of art, this publication examines trade relationships between regions as well as intercultural exchanges within smaller geographic areas. It discusses a range of interactions between practitioners of many religions who supplied art within political entities, both of Islamic cultural majority and Islamic cultural minority?over centuries. Works in this publication hail from what is present-day Afghanistan, Algeria, Burkina Faso, China, Egypt, France, Indonesia, India, Iran, Iraq, Malaysia, Morocco, Myanmar, the Netherlands, Nigeria, Pakistan, Togo, Turkey, Turkmenistan, Saudi Arabia, Spain, Sudan, Syria, the United States of America, Uzbekistan and Zanzibar. Works illustrated and discussed here were created as recently as 2016 but also as early as the ninth century.Unlike countless other catalogues of Islamic art that have organized works of art by region, time period, medium (ink, silk, gold, etc.), or visual subject matter (pattern, figures, etc.), this publication introduces material through the window of the Five Pillars of Islam. Foundational to the life of devout Muslims are the five pillars, called arkan in Arabic. They are the profession of faith (shahada), daily prayers (salat), charity (zakat), ritual fasting for Ramadan (sawm) and pilgrimage to Mecca (hajj). These pillars are illustrated with objects related to their activity. After this basic introduction, works in this catalogue are organized into five contexts that intentionally resonate with the five pillars. The five contexts that frame the discussion of artwork in this catalogue are Elegant Epigraphy: Writing as Art; Internationalism: Now & Then; Hospitality: Fasting, Feasting & Fun; Architecture & Its Offspring and Modest Beauty: Dress, Fashion & Faith. These five contexts are intended to encourage readers to consider both what unites these works of art and what differentiates them.

Wondrous Worlds: Art and Islam through Time and Place

Arts & Photography

Paul, Katherine Anne

History & Criticism

Newark Museum

The Newark Museum Collection of American Art Pottery

Dietz, Ulysses G.

A sprinkling of gold: The lacquer box collection of Elaine Ehrenkranz

Okada, Barbra Teri

Catalogue of the Newark Museum Tibetan Collection, Vol. 1

The Newark Museum has been at the forefront of American art museums in its representation of the arts of Africa since 1917. Newark's collection is notable for its embrace of the entire continent and its diaspora as well as for the breadth of artistic representation and inclusion of historic as well as modern and contemporary art. This catalogue is the first devoted to exploring this richly diverse collection, providing a comprehensive overview of African visual culture unmatched by most collection catalogues, ensuring its broad appeal and relevance. The publication highlights one hundred works that represent this range, including masks and figural statuary, objects of domestic use, dress and adornment, sculpture, photography, paintings, and video art. Individual catalogue entries written by more than forty scholars are presented in chronological order. These are supplemented by essays that survey the museum's pioneering history of collecting and exhibiting African art and highlight the unique strengths of the collection: arts of North Africa, textiles, Yoruba art, and modern and contemporary art. Collectively, the works in this publication offer a new vision of African art, one that reflects the diversity of artistic creativity on the continent and its global reach, both past and present.

Arts of Global Africa: The Newark Museum Collection

Tyrone Mitchell

Wright, Beryl J.

Published to accompany the exhibition about fashioning America's jewelry shown at the Newark Museum from May 7 through November 2, 1997

The Glitter & the Gold: Fashioning America's Jewelry

History

Jenna Weissman Joselit

Ulysses Grant Dietz

Kevin J. Smead

Janet Zapata

Americas

Introducing 230 examples of the Newark Museum’s collection of nearly 3,000 Chinese paper cuts, this bilingual Chinese-English publication traces the earliest moments of the tradition of Chinese paper cuts to its use throughout the twentieth century. It features superior examples of Qing Dynasty (1644-1911) traditional paper-cuts used as complex embroidery patterns, beautiful good-luck ornaments for windows and walls as well as intricate decorations for seasonal parade floats but also rare survivors of the Republic Period (1911-42) as well as a vast, almost encyclopedic, collection of paper-cuts affiliated with the rise of communism in China (1942-1980). Maud Russell (1893-1989), a social worker with the Young Women's Christian Association in China from 1917 to 1943, became a fervent believer in communism translating tracts from Chinese into English and distributing them in the United States until her death, gifted the majority of this paper cut collection to the Newark Museum. The breadth and depth of the meaning and uses of Chinese paper cuts will astonish readers, making a distinct contribution to scholastic discourse on this little known (especially to the West) art form while the variety of the material will delight a general readership. The author, Professor Han Huirong of Beijing Normal University in Beijing, China is a leading expert on “the New Paper Cut”. Professor Han’s writing evokes a distinct understanding of imagery that presents multiple meanings simultaneously, invoking a profound intended emotional interaction between the viewer and the material through not only sight, but also sounds, smells, tastes, patriotism and nostalgia.

Revolutionary Chinese Paper Cuts from the Newark Museum

Huirong, Han

This catalogue presents the evolution of the Newark Museum’s jewelry collection, showcasing prime examples that document the makers, styles, and craftsmanship, both antique and contemporary. The museum began collecting jewelry in 1911 when Archibald Mercer donated two antique gold watches, and over the years generations of old Newark families have contributed to the museum’s holdings. What started out in the 1990s as a collection focused on the products of Newark’s jewelry industry has developed into what is today one of the most comprehensive jewelry holdings in the country, including ancient, African, Asian, European, and American jewelry.Offering a rich sampling of the jewelry from the extensive Decorative Arts collection at the Newark Museum, this volume reflects on the wide array of materials people have used over the centuries―from pebbles to precious stones and metals to glass, enamel, and plastic―to create beautiful works that transcend personal adornment and become pieces of art.

Jewelry: From Pearls to Platinum to Plastic

Dietz, Ulysses Grant

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Books by Newark Museum