"Modern and Contemporary Art at Dartmouth focuses on post-1945 painting, sculpture, works on paper, photography, and new media, including interactive and multimedia works. The catalogue comprises several extensive entries on areas of strength in the Hood Museum of Art's modern and contemporary collections as well as over one hundred color illustrated entries on individual works, many of which have never before been published. Featured artists include El Anatsui, Romare Bearden, Alexander Calder, Bob Haozous, Juan Munoz, Alice Ned, Amir Nom, Mark Rothko, Ed Ruscha, Alison Saar, Richard Serra, and Lorna Simpson." --Book Jacket.

Indigenous North Americans have continuously made important contributions to the field of art in the U.S. and Canada, yet have been severely under-recognized and under-represented. Native artists work in diverse media, some of which are considered art (sculpture, painting, photography), while others have been considered craft (works on cloth, basketry, ceramics).Some artists feel strongly about working from a position as a Native artist, while others prefer to produce art not connected to a particular cultural tradition.

"Brad Kahlhamer's expansive universe churns with an unrestrained rhythmic energy that is as indebted to punk as it is the prairie. Fusing exuberant expressionism with the visionary tradition of Native American art, he draws from a wide range of visual sources, including cinema, comics, rock music, urban street culture and the American West. The resulting landscape, populated by an unruly cast of characters, dead or alive, blends representations of the real into what the artist calls an imaginary "third place" that exists beyond the "first place" of his conventional American upbringing and the "second place" of his Native American heritage-a kind of ecstatic glitter-and-doom-meets-Deadwood by way of downtown NYC." "This volume, the first comprehensive monograph on Kahlhamer's work to date, surveys more than 10 years of drawings, paintings and sculptures."--BOOK JACKET.

Let's Walk West presents recent work by Brad Kahlhamer, an Arizona-born, New York-based artist and musician. It includes large-scale watercolor-and-ink paintings, texts excerpted from his journals and song lyrics, working photographs, and preliminary studies, along with a selection of nineteenth-century Plains Indian ledger drawings selected by Kahlhamer from the collection of the Heard Museum in Phoenix. Let's Walk West looks at Kahlhamer's rambling journey into his Native American heritage and the landscape of the West. He was born in Tucson in 1956 of Native American parentage, but was adopted and raised in rural Wisconsin. His art is propelled by a quest to reconnect with his Native identity and to reconcile it with his middle-American upbringing. His paintings arm-wrestle with an unknown biography, with people and places both real and imagined, part visionary, part pop culture. Eagles, coyotes, and javelinas appear like talismans, alongside caricatures of family and friends.

This book explores Fritz Scholder's at times controversial depictions of contemporary Native Americans including rarely seen monumental canvases and lithographs that situate Scholder as a figurative artist and highlight his brilliant use of color. Full color reproductions of works from the Denver Art Museum and public and private lenders display the full range of Scholder's vision. Essays from noted scholars discuss Scholder's influences and artistic process, including, for the first time, an assessment of the impact of his foreign travels on his work.

Reveals the legacy of the train as a critical site of race in the United States Despite the seeming supremacy of car culture in the United States, the train has long been and continues to be a potent symbol of American exceptionalism, ingenuity, and vastness. For almost two centuries, the train has served as the literal and symbolic vehicle for American national identity, manifest destiny, and imperial ambitions. It’s no surprise, then, that the train continues to endure in depictions across literature, film, ad music. The Racial Railroad highlights the surprisingly central role that the railroad has played—and continues to play—in the formation and perception of racial identity and difference in the United States. Julia H. Lee argues that the train is frequently used as the setting for stories of race because it operates across multiple registers and scales of experience and meaning, both as an invocation of and a depository for all manner of social, historical, and political narratives. Lee demonstrates how, through legacies of racialized labor and disenfranchisement—from the Chinese American construction of the Transcontinental Railroad and the depictions of Native Americans in landscape and advertising, to the underground railroad and Jim Crow segregation—the train becomes one of the exemplary spaces through which American cultural works explore questions of racial subjectivity, community, and conflict. By considering the train through various lenses, The Racial Railroad tracks how racial formations and conflicts are constituted in significant and contradictory ways by the spaces in which they occur.

"Why Have There Been No Great Women Artists?" asked the prominent art historian Linda Nochlin in a provocative 1971 essay. Today her insightful critique serves as a benchmark against which the progress of women artists may be measured. In this book, four prominent critics and curators describe the impact of women artists on contemporary art since the advent of the feminist movement.

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