Published to accompany an exhibit at the gallery, in New York City, from April to June 1998. Offers examples of the modern resurgence of the traditional writing form as practiced by 21 artists. The many black-and-white illustrations and 11 color plates are supported with an introduction to the genre, discussions of the artists and their work, and an interview with American artist Brice Marden. No index. Distributed in the U.S. by U. of Washington Press. Annotation c. by Book News, Inc., Portland, Or.

Brushed Voices

Arts & Photography

Zhang, Yiguo

Collections, Catalogs & Exhibitions

The Wallach Art Gallery

Issued in conjunction with an exhibition at Columbia University from October to December 2000 of Urban's (d. 1929) models, watercolors, drawings, and plans from the collection there. They document his designs for opera stages of Boston and New York and for the Ziegfeld Follies . Accompanying the checklist of the exhibition are essays on his work and its place in American architecture, theater, and film. There is no index. The volume is 10.75

Architect of Dreams: The Theatrical Vision of Joseph Urban

Aronson, Arnold

Cannan, Gwynedd

Moscow

Michoustina, Nadia

Restoring Byzantium: The Kariye Camii in Istanbul and the Byzantine Institute Restoration

Restoring Byzantium

Dell’Acqua, Francesca

Angelov, Dimiter

Maguire, Eunice D.

Teteriatnikov, Natalia

Osterhout, Robert G.

Brooks, Sarah T.

Treasures Rediscovered focuses on a group of 22 stone devotional objects and architectural fragments that collectively represent major developments in Chinese religion and mortuary culture, from the Han (206 BCE–220 CE) through the Tang dynasty (618–907). The major emphasis is on works from the sixth century, a period of great intellectual ferment and artistic transformation, above all in the Buddhist arts.The sculptures included range from a small personal votive icon to large temple carvings. The majority are Buddhist icons in various formats, objects of devotion that were installed in temples and cave chapels.

Treasures Rediscovered: Chinese Stone Sculpture from the Sackler Collections at Columbia University

Juliano, Annette L.

Abe, Stanley K.

Swergold, Leopold

Wong, Dorothy C.

Pearlstein, Elinor

Liu, Cary Y.

Rowan, Diana P.

Hsu, Eileen Hsiang-ling

Adamek, Wendi Leigh

History & Criticism

In the mid twentieth century, artists in the newly independent nation of Iraq experimented with a form of Modernism that they saw as a new and revolutionary artistic idiom for a secular national state. Combining ancient and Islamic forms and genres of art and with Western Modernist influences, these artists set out to create an art for the people. At the same time, they participated in what they saw of Western Modernism by bringing to it older forms of Islamic abstraction. In this way, they challenged both traditional indigenous forms and what they learned from modern art in Europe. Today these works continue to challenge the pervasive image of Iraq as a country with no modern artistic past. As the exhibition curators and authors of the catalogue, Zainab Bahrani, the Edith Porada Professor of Ancient Near Eastern Art History and Archaeology at Columbia University, and Nada Shabout, an associate professor of art history at the University of North Texas, make clear, there are several reasons Iraq's modern tradition remains little known abroad. Access to the artworks themselves is one problem: The Iraqi Museum of Modern Art was looted after the fall of Baghdad, and most modern and contemporary works are now in private collections. The catalogue offers an unprecedented overview of the work of several generations of Iraqi artists, from the mid-twentieth century to the present, including paintings, sculpture, book arts, and videos by forty-five artists, among them Jawad Salim, Dia Azzawi, Hana Malallah, Nazar Yahya, Kareem Risan, Ghassan Gha'eb, Rafa al Nasiri, and Mohammed al Shammarey.

Modernism and Iraq

Bahrani, Zainab

Shabout, Nada M.

This publication is largely dedicated to the history, the architectural design and the exhibits of the new Acropolis Museum in Athens, which opened its doors to the public in 2009. It is designed by Bernard Tschumi, a faculty member at Columbia's Graduate School of Architecture, Planning, and Preservation. Tschumi is also an internationally acclaimed architect, having designed numerous large-scale projects, ranging from the Parc de la Villette in Paris to Columbia's own Alfred Lerner Hall. His design for the Acropolis Museum is based around three concepts: light, movement, and program (the edifice's purpose as an exhibit space). The publication features models of the Acropolis Museum, reproductions of Tschumi's drawings, and photographs of the interior of the museum.

The New Acropolis Museum

Chaniotis, Angelos

Tschumi, Bernard

PANDERMALIS, Dimitrios

Mylonopoulos, Ioannis

The essays in Common Love, Aesthetics of Becoming take up the question of "love" in various ways. The point of departure is Michael Hardt and Antonio Negri's discussion of love in Commonwealth, excerpts of which were published in the October 2009 issue of Artforum. Hardt and Negri argue for a love that moves beyond identification (e.g, with the nation state) and beyond an idea of unification (e.g., as with romantic love). More related to art practice per se, art critic George Baker alludes to "love" when describing the sharing of forms: how film becomes sculptural, for example, or how painting moves toward a sculptural condition.

Common Love

Cabañas, Kaira M.

Amenoff, Gregory

Benenson, A.E.

Johnson-Montenegro, Donald

Chappa, Kristen

Jr., Robert E. Harrist

Kanamitsu, Tomoko

Through essays, plates, and reproductions, the accompanying catalogue presents the range of photographs and other materials in the Community Service Society records. In the foreword, Maren Stange revisits her foundational study "Symbols of Ideal Life: Social Documentary Photography in America, 1890-1950" in which she wrote extensively about the photographic practices of the Charity Organization Society and addressed the ongoing significance of the collection to the history of photography. Huffa Frobes-Cross provides a review of the extensive literature regarding the limitations of a progressive documentary tradition, including critiques during the 1970s and 1980s by Susan Sontag, Martha Rosler, and Allan Sekula, among others. This essay historicizes these arguments while taking into consideration the growing field of scholarship that has developed on photography of suffering, violence and poverty. Drew Sawyer's essay focuses on the visual culture of housing reform to highlight the heterogeneous and changing visual strategies of these two organizations at the turn of the twentieth century. More specifically, the essay deals with abundance of overlooked photographs of architecture in the archive. In doing so, it provides a corrective to scholarship and criticism that has focused on images of people and suffering rather than the built environment.

Social Forces Visualized: Photography and Scientific Charity 1900-1920

Sawyer, Drew

Esq., David R. Jones

Frobes-Cross, Huffa

Published on occasion of the exhibition Goddess, Heroine, Beast: Anna Hyatt Huntington's New York Sculpture, 1902-1936, this exhibition catalogue celbrates the life and work of New York City sculptor, Anna Hyatt Huntington (1876-1973). Hyatt Huntington's work is displayed in many of New York's leading institutions and outdoor spaces, including Columbia University, the Metropolitan Museum of Art, the National Academy of Design, the New-York Historical Society, the Hispanic Society, the Cathedral of St. John the Divine, Central Park, Riverside Park, and the Bronx Zoo. Despite the presence of her sculptures throughout the city, Hyatt Huntington is not well-recognized today. This publication aims to redress that by focusing on her noted New York career, including the first public monument in New York City by a woman: her Joan of Arc on Riverside Drive and 93rd street. Over thirteen feet high, her martial equestrian heroine, clad in armor from head to toe and cast in bronze, was also the city's first public monument to a historical woman. Meanwhile, Hyatt Huntington had become famous for her animal sculptures that combined ferocious spirit with skillful realism, many of which are included in this exhibition catalogue.

Goddess, Heroine, Beast: Anna Hyatt Huntington's New York Sculpture, 1902–1936

Higonnet, Anne

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