Long overdue, this monograph on Louise Fishman explores the artist's commitment to abstract painting across nearly five decades of boundary pushing work. Fishman is best known for her large-scale gestural absractions, which are at once energetic and orderly, technically masterful yet emotinally evocative. Accompanying the first-ever comprehensive museum survey of Fishman's paintings and drawings as well as a concurrent exhibition devoted to the artist's lesser-known work in small-scale painting and sculpture, this book presents the full story of the artist's roving explorations in abstraction, revealing the remarkable range of her material investigations.

One girl, one painting a day...can she do it? Linda Patricia Cleary decided to challenge herself with a year long project starting on January 1, 2014. Choose an artist a day and create a piece in tribute to them. It was a fun, challenging, stressful and psychological experience. She learned about technique, art history, different materials and embracing failure. Here are all 365 pieces. Enjoy!

A collection of the artist's works, focusing on his Ocean Park series. Includes a short introduction.

Reinventing Abstractionlooks at 15 painters born between 1939 and 1949: Carroll Dunham, Louise Fishman, Mary Heilmann, Bill Jensen, Jonathan Lasker, Stephen Mueller, Elizabeth Murray, Thomas Nozkowski, David Reed, Joan Snyder, Pat Steir, Gary Stephan, Stanley Whitney, Jack Whitten and Terry Winters. Challenging official accounts of the decade, which tend to ignore the individualistic abstraction exemplified by these painters in favor of more easily identifiable movements and styles, Rubinstein chronicles how, around 1980, a generation of New York painters embraced elements that had been largely excluded from the radical, deconstructive abstraction of the late 1960s and 1970s, which had influenced many of them. In a long, informative essay titled "The Lure of the Impure," Rubinstein seeks to uncover the "street history" of painting, and redress past, sometimes race-based exclusions. Although many of the artists in Reinventing Abstractionare well known, their collective history has not yet been addressed by art history.

Uncovering a history buried by different nationalist narratives (Jewish, Israeli, Arab and Palestinian) this book looks at how the late Ottoman era set the stage for the on-going Palestinian-Israeli conflict. It presents an innovative analysis of the struggle in its first years, when Palestine was still an integral part of the Ottoman Empire. And it argues that in the late Ottoman era, Jews and Palestinians were already locked in conflict: the new freedoms introduced by the Young Turk Constitutional Revolution exacerbated divisions (rather than serving as a unifying factor). Offering an integrative approach, it considers both communities, together and separately, in order to provide a more sophisticated narrative of how the conflict unfolded in its first years.

In Dragging Away Lex Morgan Lancaster traces the formal and material innovations of contemporary queer and feminist artists, showing how they use abstraction as a queering tactic for social and political ends. Through a process Lancaster theorizes as a drag—dragging past aesthetics into the present and reworking them while pulling their work away from direct representation—these artists reimagine midcentury forms of abstraction and expose the violence of the tendency to reduce abstract form to a bodily sign or biographical symbolism. Lancaster outlines how the geometric enamel objects, grid paintings, vibrant color, and expansive installations of artists ranging from Ulrike Müller, Nancy Brooks Brody, and Lorna Simpson to Linda Besemer, Sheila Pepe, and Shinique Smith offer direct challenges to representational and categorical legibility. In so doing, Lancaster demonstrates that abstraction is not apolitical, neutral, or universal; it is a form of social praxis that actively contributes to queer, feminist, critical race, trans, and crip politics.

Now back in print! The "major" minor American humorist of the early nineteenth century.

"A critical yet intimate look at the lives and work of nine noted American women artists who have been personally important to artist and author Deanna Sirlin. Having followed and drawn inspiration from their work for over thirty years, Sirlin decided to visit and talk with each of these artists in their studios; her goal was to find out how these women think about making art, how they view their place in history, and what it means to be a woman artist today. In documenting these meetings, this book captures the continuing vitality of a group of women who have committed their lives to their respective artistic visions. It also conveys the deep sense of kinship Sirlin has come to feel with them, and the way these encounters have added meaning to her own sense of herself as an artist."--Back cover.

Profiles of 18 prominent lesbian artists, from Kate Millett and Joan Snyder to Deborah Kass and Catherine Opie, complete this groundbreaking contribution to contemporary art history."--BOOK JACKET.

"The first art-historical compendium on the dynamics of the line in drawing and dance. Dance and the visual arts have long since entered a relationship, yet an authoritative portrayal of the points at which they intersect has yet to be compiled. This publication assembles works by ca. forty different artists in an attempt to find a place in art history for the multilayered affinities between contemporary dance and the modern visual arts of the past forty years. The line is used to trace this history."--Gallery website.