Illustrated by over 50 of Edward Hopper's most powerful evocations of New York, Avis Berman's essay explores how Hopper and his work illuminate each other by analyzing what his New York is - and is not. Ever the contrarian, he offers an alternative to what other American artists seized on - the new, the gigantic, the technologically exciting. Hopper stayed away from tourist attractions or landmarks of the city's glamorous skyline. His preference for nondescript vernacular buildings is emblematic of the larger Hopper paradox: he makes emptiness full, silence articulate, banality intense, plainness mysterious, and tawdriness noble.

Presenting the latest iteration of this crucial exhibition, always a barometer of contemporary American art The 2022 Whitney Biennial is accompanied by this landmark volume. Each of the Biennial's participants is represented by a selected exhibition history, a bibliography, and imagery complemented by a personal statement or interview that foregrounds the artist's own voice. Essays by the curators and other contributors elucidate themes of the exhibition and discuss the participants. The 2022 Biennial's two curators, David Breslin and Adrienne Edwards, are known for their close collaboration with living artists. Coming after several years of seismic upheaval in and beyond the cultural, social, and political landscapes, this catalogue will offer a new take on the storied institution of the Biennial while continuing to serve--as previous editions have--as an invaluable resource on present-day trends in contemporary art in the United States.

Filled with reproductions of Kehinde Wiley’s bold, colorful, and monumental work, this book encompasses the artist’s various series of paintings as well as his sculptural work—which boldly explore ideas about race, power, and tradition. Celebrated for his classically styled paintings that depict African American men in heroic poses, Kehinde Wiley is among the expanding ranks of prominent black artists—such as Sanford Biggers, Yinka Shonibare, Mickalene Thomas, and Lynette Yiadom-Boakye—who are reworking art history and questioning its depictions of people of color. Co-published with the Brooklyn Museum of Art for the major touring retrospective, this volume surveys Wiley’s career from 2001 to the present. It includes early portraits of the men Wiley observed on Harlem’s streets, and which laid the foundation for his acclaimed reworkings of Old Master paintings by Titian, van Dyke, Manet, and others, in which he replaces historical subjects with young African American men in contemporary attire: puffy jackets, sneakers, hoodies, and baseball caps. Also included is a generous selection from Wiley’s ongoing World Stage project; several of his enormous Down paintings; striking male portrait busts in bronze; and examples from the artist’s new series of stained glass windows. Accompanying the illustrations are essays that introduce readers to the arc of Wiley’s career, its critical reception, and ongoing evolution.

This groundbreaking book explores the evolving concept of unfinishedness as essential to understanding art movements from the Renaissance to the present day. Unfinished features more than 200 works, created in a variety of media, by artists ranging from Leonardo, Titian, Rembrandt, Turner, and Cézanne to Picasso, Warhol, Twombly, Freud, Richter, and Nauman. What unites these works, across centuries and media, is that each one displays some aspect of being unfinished. Essays and case studies by major contemporary scholars address this key concept from the perspective of both the creator and the viewer, probing the impact that this long artistic trajectory—which can be traced back to the first century—has had on modern and contemporary art. The book investigates the degrees to which instances of incompleteness were accidental or intentional experimental or conceptual. Also included are illuminating interviews with contemporary artists, including Tuymans, Celmins, and Marden, and parallel considerations of the unfinished in literature and film. The result is a multidisciplinary approach and thought-provoking analysis that provide valuable insight into the making, meaning, and critical reception of the unfinished in art.

A compendium of fifty full page illustrations and paintings collected from the 2014 and 2015 "Moleskine Project" group show at Spoke Art gallery in San Francisco. Featuring an all-star roster of international artists in an embossed leather bound cover with rounded corners, ribbon bookmark and elastic band closure.

Published to celebrate The Metropolitan Museum of Art’s 150th anniversary, Making The Met, 1870–2020 examines the institution’s evolution from an idea—that art can inspire anyone who has access to it—to one of the most beloved global collections in the world. Focusing on key transformational moments, this richly illustrated book provides insight into the visionary figures and events that led The Met in new directions. Among the many topics explored are the impact of momentous acquisitions, the central importance of education and accessibility, the collaboration that resulted from international excavations, the Museum’s role in preserving cultural heritage, and its interaction with contemporary art and artists. Complementing this fascinating history are more than two hundred works that changed the very way we look at art, as well as rarely seen archival and behind-the-scenes images. In the final chapter, Met Director Max Hollein offers a meditation on evolving approaches to collecting art from around the world, strategies for reaching new and diverse audiences, and the role of museums today.

Explores the influences between Mexican modernist Rufino Tamayo and the American art world at a time of unparalleled cross-cultural exchange.

Images and descriptions of art objects that represent the scope of the museum's collecting.