Lead in Modern and Contemporary Art is the first edited volume to critically examine uses of lead as both material and cultural signifier in modern and contemporary art. The book analyzes the work of a diverse group of artists working in Europe, the Middle East, and North America, and takes into account the ways in which gender, race, and class can affect the cultural perception of lead. Bringing together contributions from a distinguished group of international contributors across various fields, this volume explores lead's relevance from a number of perspectives, including art history, technical art history, art criticism, and curatorial studies. Drawing on current art historical concerns with materiality, this volume builds on recent exhibitions and scholarship that reconsider the role of materials in shaping artistic meaning, thus giving a central relevance to the object and its physicality.

Lead in Modern and Contemporary Art is the first edited volume to critically examine uses of lead as both material and cultural signifier in modern and contemporary art. The book analyzes the work of a diverse group of artists working in Europe, the Middle East, and North America, and takes into account the ways in which gender, race, and class can affect the cultural perception of lead. Bringing together contributions from a distinguished group of international contributors across various fields, this volume explores lead's relevance from a number of perspectives, including art history, technical art history, art criticism, and curatorial studies. Drawing on current art historical concerns with materiality, this volume builds on recent exhibitions and scholarship that reconsider the role of materials in shaping artistic meaning, thus giving a central relevance to the object and its physicality.

"Contemporary art in the early twenty-first century is often discussed as though it were a radically new phenomenon unmoored from history. Yet all works of art were once contemporary to the artist and culture that produced them. In What Was Contemporary Art? Richard Meyer reclaims the contemporary from historical amnesia, exploring episodes in the study, exhibition, and reception of early twentieth-century art and visual culture.

A veteran art critic helps us make sense of modern and contemporary art The landscape of contemporary art has changed dramatically during the last hundred years: from Malevich's 1915 painting of a single black square and Duchamp's 1917 signed porcelain urinal to Jackson Pollock's midcentury "drip" paintings; Chris Burden's "Shoot" (1971), in which the artist was voluntarily shot in the arm with a rifle; Urs Fischer's "You" (2007), a giant hole dug in the floor of a New York gallery; and the conceptual and performance art of today's Ai Weiwei and Marina Abramovic. The shifts have left the art-viewing public (understandably) perplexed. In The Art of Looking, renowned art critic Lance Esplund demonstrates that works of modern and contemporary art are not as indecipherable as they might seem. With patience, insight, and wit, Esplund guides us through the last century of art and empowers us to approach and appreciate it with new eyes. Eager to democratize genres that can feel inaccessible, Esplund encourages viewers to trust their own taste, guts, and common sense. The Art of Looking will open the eyes of viewers who think that recent art is obtuse, nonsensical, and irrelevant, as well as the eyes of those who believe that the art of the past has nothing to say to our present.

The history of modern art is often told through aesthetic breakthroughs that sync well with cultural and political change. From Courbet to Picasso, from Malevich to Warhol, it is accepted that art tracks the disruptions of industrialization, fascism, revolution, and war. Yet filtering the history of modern art only through catastrophic events cannot account for the subtle developments that lead to the profound confusion at the heart of contemporary art. In Industry and Intelligence, the artist Liam Gillick writes a nuanced genealogy to help us appreciate contemporary art's engagement with history even when it seems apathetic or blind to current events. Taking a broad view of artistic creation from 1820 to today, Gillick follows the response of artists to incremental developments in science, politics, and technology. The great innovations and dislocations of the nineteenth and twentieth centuries have their place in this timeline, but their traces are alternately amplified and diminished as Gillick moves through artistic reactions to liberalism, mass manufacturing, psychology, nuclear physics, automobiles, and a host of other advances. He intimately ties the origins of contemporary art to the social and technological adjustments of modern life, which artists struggled to incorporate truthfully into their works.

The book examines the contemporary art system with a broad and systematic approach, through the application of models of microeconomics and industrial organizations. By breaking down the traditional barriers between different academic disciplines such as art and economics, this book offers a unique opportunity to grasp the complexities of the contemporary art world and provides the tools to conduct a structural analysis of that market. The result is an in-depth analysis of the contemporary art market from an interdisciplinary perspective. While it is not a textbook in the strictest sense, the book offers a concise and effective overview of all actors in the art system, and provides supporting data and valuable information, both conceptual and practical. It is therefore a text that can be used by students wishing to better understand the complex dynamics that govern the contemporary art market, but also by cultural managers, collectors, potential art investors or simply art lovers who need a quick reference.​

This full color catalog details the State of the Art 2020 exhibition at Crystal Bridges Museum of American Art and the Momentary in Bentonville, Arkansas from February 22 through May 24, 2020.

The most complete and authoritative book on preventing and correcting health hazards of art and craft materials for students, professional artists, and craftspeople.

This anonymous manuscript play has long been the subject of scholarly dispute regarding its relationship with Shakespeare's Richard II. This edition, which thoroughly re-examines the text, situates the play within its historical and political context, relating it to the genre of chronicle drama to which it belongs. The manuscript is of particular interest in that it appears to have been used in the playhouse over a considerable period of time and contains what seems to be evidence of the theatre practice of the time. The play is also of special interest for its skilful and original handling of source material which may well have influenced Shakespeare's Richard II. The extensive appendices drawn from Holinshed, Grafton and Stow provide the reader with the opportunity to investigate the manner in which the dramatist has shaped the material. The editors argue for the play's stage-worthiness and dramatic complexity, suggesting that its range both of dramatic tone and social inclusiveness indicate the work of a dramatist of considerable skill and subtlety, equal or superior to the Shakespeare of the Henry VI plays.