This comprehensive reconstruction and interpretation of Louise and Walter Arensberg’s groundbreaking collection of modern and pre-Columbian art takes readers room by room, wall by wall, object by object through the couple’s Los Angeles home in which their collection was displayed. Following the Armory Show of 1913, Louise and Walter Arensberg began assembling one of the most important private collections of art in the United States, as well as the world’s largest private library of works by and about the philosopher Sir Francis Bacon. By the time Louise and Walter died—in 1953 and 1954, respectively—they had acquired some four thousand rare books and manuscripts and nearly one thousand works of art, including world-class specimens of Cubism, Surrealism, and Primitivism, the bulk of Marcel Duchamp’s oeuvre, and hundreds of pre-Columbian objects. These exceptional works filled nearly all available space in every room of their house—including the bathrooms. The Arensbergs have long had a central role in the histories of Modernism and collecting, but images of their collection in situ have never been assembled or examined comprehensively until now. Presenting new research on how the Arensbergs acquired pre-Columbian art and featuring never-before-seen images, Hollywood Arensberg demonstrates the value of seeing the Arensbergs’ collection as part of a single vision, framed by a unique domestic space at the heart of Hollywood’s burgeoning artistic scene. This publication has been generously supported by Furthermore: a program of the J.M. Kaplan fund.

Art Forum’s Best of the Year List A panoramic look at art in America in the second half of the twentieth century, through the eyes of the visionary curator who helped shape it. An innovative, iconoclastic curator of contemporary art, Walter Hopps founded his first gallery in L.A. at the age of twenty-one. At twenty-four, he opened the Ferus Gallery with then-unknown artist Edward Kienholz, where he turned the spotlight on a new generation of West Coast artists. Ferus was also the first gallery ever to show Andy Warhol’s Campbell’s Soup Cans and was shut down by the L.A. vice squad for a show of Wallace Berman’s edgy art. At the Pasadena Art Museum in the sixties, Hopps mounted the first museum retrospectives of Marcel Duchamp and Joseph Cornell and the first museum exhibition of Pop Art--before it was even known as Pop Art. In 1967, when Hopps became the director of Washington’s Corcoran Gallery of Art at age thirty-four, the New York Times hailed him as "the most gifted museum man on the West Coast (and, in the field of contemporary art, possibly in the nation)." He was also arguably the most unpredictable, an eccentric genius who was chronically late. (His staff at the Corcoran had a button made that said WALTER HOPPS WILL BE HERE IN TWENTY MINUTES.) Erratic in his work habits, he was never erratic in his commitment to art. Hopps died in 2005, after decades at the Menil Collection of art in Houston for which he was the founding director. A few years before that, he began work on this book. With an introduction by legendary Pop artist Ed Ruscha, The Dream Colony is a vivid, personal, surprising, irreverent, and enlightening account of his life and of some of the greatest artistic minds of the twentieth century.

In 1913 Marcel Duchamp's Nude Descending a Staircase exploded through the American art world. This is the story of how he followed the painting to New York two years later, enchanted the Arensberg salon, and—almost incidentally—changed art forever. In 1915, a group of French artists fled war-torn Europe for New York. In the few months between their arrival—and America’s entry into the war in April 1917—they pushed back the boundaries of the possible, in both life and art. The vortex of this transformation was the apartment at 33 West 67th Street, owned by Walter and Louise Arensberg, where artists and poets met nightly to talk, eat, drink, discuss each others’ work, play chess, plan balls, organise magazines and exhibitions, and fall in and out of love. At the center of all this activity stood the mysterious figure of Marcel Duchamp, always approachable, always unreadable. His exhibit of a urinal, which he called Fountain, briefly shocked the New York art world before falling, like its perpetrator, into obscurity. Many people (of both sexes) were in love with Duchamp. Henri-Pierre Roché and Beatrice Wood were among them; they were also, briefly, and (for her) life-changingly, in love with each other. Both kept daily diaries, which give an intimate picture of the events of those years. Or rather two pictures—for the views they offer, including of their own love affair, are stunningly divergent. Spellbound by Marcel follows Duchamp, Roché, and Beatrice as they traverse the twentieth century. Roché became the author of Jules and Jim, made into a classic film by François Truffaut. Beatrice became a celebrated ceramicist. Duchamp fell into chess-playing obscurity until, decades later, he became famous for a second time—as Fountain was elected the twentieth century’s most influential artwork.

Galka Scheyer, Walter and Louise Arensberg, Richard Neutra, Rudolph Schindler, Will Connell, Lloyd Wright, Norman Bel Geddes, Edward Weston, John Cage, Anais Nin, Jake Zeitlin, Merle Armitage, Harriet and Sam Freeman, and several dozen other artists and designers--this was a circle, not just a loose network of acquaintances. The modernist pioneers of Los Angeles art and architecture made statements in their work and legacies, but they were every bit as much a community as they were individual satellites of expression. These people gathered in solidarity, they met as friends and lovers, and they shared excitement over their important breaks with tradition. In modest but lasting ways, they changed Los Angeles forever. There is history in that, and there is inspiration as well. This book is about a secret Los Angeles, a Los Angeles filled with optimism about a different kind of "city of the future."

When Emily Joy Allison outed her abuser on Twitter, she launched #ChurchToo, a movement to expose the culture of sexual abuse and assault utterly rampant in Christian churches in America. Not a single denomination is unaffected. And the reasons are somewhat different than those you might find in the #MeToo stories coming out of Hollywood or Washington. While patriarchy and misogyny are problems everywhere, they take on a particularly pernicious form in Christian churches where those with power have been insisting, since many decades before #MeToo, that this sexually dysfunctional environment is, in fact, exactly how God wants it to be. #ChurchToo turns over the rocks of the church's sexual dysfunction, revealing just what makes sexualized violence in religious contexts both ubiquitous and uniquely traumatizing. It also lays the groundwork for not one but many paths of healing from a religious culture of sexual shame, secrecy, and control, and for survivors of abuse to live full, free, healthy lives.

Published to accompany the first solo exhibition of Philip Guston at the Ashmolean Museum in Oxford from 23 November 2019 to 8 March 2020 Features many works by the American artist not seen in the UK before Philip Guston (1913-1980) was an internationally acclaimed American artist whose response to the political and social tumult of the post-war decades resulted in a prolific artistic output. Over the course of his career, his style transformed from figuration to abstraction to figuration. Born Phillip Goldstein, the artist began drawing incessantly at the age of 12. Aware of antisemitism, he changed his name in 1935, the year he moved to New York. After producing award-winning murals in a 'realist' style for President Franklin D. Roosevelt's Works Progress Administration (WPA) in the 1930s and early 1940s, Guston embraced the painting trend of Abstract Expressionism. The upheavals of the 1960s - civil rights protests, brutal state violence, race riots - made him question the relevance of gestural abstraction, however, and his drawing explored the new figuration for which he is best known. In response to the Vietnam War and the hypocrisy of the political administration under President Richard Nixon in the 1970s, his figurative drawing intensified to address universal issues facing modern humankind. Guston's productive output was driven by his desire to unify the story and the plastic structure of the artwork in response to a changing political and social landscape. 'Locating the image' through intensive periods of drawing was central to this. This exhibition at the Ashmolean Museum, curated by Professor Karen Lang with Dr Lena Fritsch, is the first solo show of Guston's work in Oxford. His artistic language, characterized by masterful technique, exuberant stylistic variety and the depiction of everyday objects, is readily recognizable. This catalog introduces Guston's art to visitors who may be unfamiliar with it by displaying works on paper from each stylistic phase. At the same time, it presents a new understanding to those familiar with Guston's practice by focusing on two themes: the role of drawing on the one hand, and the inspiration he took from literature on the other.

This is the catalogue for the landmark exhibition that opens at the Whitney Museum of American Art in November 1996. Hundreds of paintings, sculptures, drawings, etc. will explore the branch of Dada that flourished in N.Y. from about 1915 to the early 1920

Laguna Art Museum is proud to organize the first comprehensive exhibition of the work of a key figure in twentieth-century California art, Helen Lundeberg (1908-1999). Featuring approximately sixty to seventy paintings, it will survey Lundeberg's career systematically, beginning with her landmark Post-Surrealist paintings of the 1930s. With her teacher and later husband Lorser Feitelson, she organized the Post-Surrealist group, the first of its kind in the United States, and wrote its manifesto. Though exploring psychology and personal expression, the Post-Surrealists aimed to bring a greater sense of order and control to European Surrealism and originally styled themselves New Classicists. By the late 1950s Lundeberg was working on a larger scale. She simplified her style into broad, flat areas of color and, though never a pure abstractionist, played a key part in the "hard-edge" tendency in mid-century painting. Bringing de Chirico-like ambiguities of space to architectural and landscape compositions, she preserved the enigmatic mood of her earlier, surrealistic imagery.