The Cult of Art in Nazi Germany presents a new interpretation of National Socialism, arguing that art in the Third Reich was not simply an instrument of the regime, but actually became a source of the racist politics upon which its ideology was founded. Through the myth of the "Aryan race," a race pronounced superior because it alone creates culture, Nazism asserted art as the sole raison d'être of a regime defined by Hitler as the "dictatorship of genius." Michaud shows the important link between the religious nature of Nazi art and the political movement, revealing that in Nazi Germany art was considered to be less a witness of history than a force capable of producing future, the actor capable of accelerating the coming of a reality immanent to art itself.

WHAT MAKES A CULT ARTIST? Whether pioneering in their craft, fiercely and undeniably unique, or critically divisive, cult artists come in all shapes and guises. Some gain instant fame, others instant notoriety, and more still remain anonymous until a chance change in fashion sees their work propelled into the limelight. In this nifty little book, Ana Finel Honigman handpicks a selection of inspiring artists you should know – from the iconic Salvador Dalí and Frida Kahlo, to radical activists such as the Guerrilla Girls and Ana Mendieta. The artistic mediums explored are similarly varied, with sculptors, performance, graffiti and fine artists alike. From little knowns with small, devout followings, to superstars gracing the covers of magazines, each is special in their individuality and their ability to inspire, antagonise and delight. Cult Artists is an essential addition to any art lover's library, as well as an entertaining introduction to our weird and wonderful art world. Also in the series: Cult Filmmakers, Cult Musicians + Cult Writers The artists: Dan Attoe, Balthus, Jean-Michel Basquiat, Jospeh Beuys, Christian Boltanski, Louise Bourgeois, Leigh Bowery, Chris Burden, Sophie Calle, Chapman Brothers, Judy Chicago, Joseph Cornell, Molly Crabapple, Salvador Dali, Niki de Saint Phalle, Marcel Duchamp, El Anatsui, James Ensor, H. R. Giger, Gilbert & George, Guerrilla Girls, Nan Goldin, Jenny Holzer, Donna Huanca, Dorothy Iannone, Frida Kahlo, Allan Kaprow, Mike Kelley, Yves Klein, Barbara Kruger, Yayoi Kusama, Kazimir Malevich, Christian Marclay, Ana Mendieta, Alice Neel, Herman Nitsch, Yoko Ono, Orlan, Genesis P-orridge, Carol Rama, Faith Ringgold, Mark Rothko, Mark Ryden, Carolee Schneemann, Yinka Shonibare, Malick Sidibe, Stelarc, Florine Stettheimer, Kara Walker, David Wojnarowicz.

The Cult of the Avant-Garde Artist examines the philosophical, psychological and aesthetic premises for avant-garde art and its subsequent evolution and corruption in the late twentieth century. Arguing that modernist art is essentially therapeutic in intention, both towards self and society, Donald Kuspit further posits that neo-avant-garde, or post-modern art, at once mocks and denies the possibility of therapeutic change. As such, it accommodates the status quo of capitalist society, in which fame and fortune are valued above anything else. Stripping avant-garde art of its missionary, therapeutic intention, neo-avant-garde art instead converts it into a cliché of creative novelty or ironical value for its fashionable look. Moreover, it destroys the precarious balance of artistic narcissism and social empathy that characterizes modern art, tilting it cynically towards the former. Incorporating psychoanalytic ideas, particularly those concerned with narcissism, The Cult of the Avant-Garde Artist offers a reinterpretation of modern art history. Donald Kuspit, one of America's foremost art critics, is a contributing editor to Artforum and the author of many books.

A fresh look at a bold and dynamic 20th-century American art style Characterized by highly structured, geometric compositions with smooth surfaces, linear qualities, and lucid forms, Precisionism fully emerged after World War I and flourished in the 1920s and 1930s. This insightful publication, featuring more than 100 masterworks by artists such as Charles Sheeler, Georgia O'Keeffe, and Charles Demuth, sheds new light on the Precisionist aesthetic and the intellectual concerns, excitement, tensions, and ambivalences about industrialization that helped develop this important strand of early American modernism. Essays explore the origins of the style--which reconciled realism with abstraction and adapted European art movements like Purism, Cubism, and Futurism to American subject matter--as well as its relationship to photography, and the ways in which it reflected the economic and social changes brought about by industrialization and technology in the post-World War I world. In addition to making a meaningful contribution to the resurging interest in Modernism and its revisionist narratives, this book offers copious connections between the past and our present day, poised on the verge of a fourth industrial revolution. Fine Arts Museums of San Francisco in association with Yale University Press Exhibition Schedule: Fine Arts Museums of San Francisco, de Young (03/24/18-08/12/18) Dallas Museum of Art (09/16/18-01/06/19)

Published to accompany the Hayward Gallery Touring Exhibition, held at New Art Gallery, Wallsall, 4 May - 1 July 2007, Nottingham Castle, 14 July - 16 September 2007, Leeds City Art Gallery, 21 September - 11 November 2007, Aberystwyth Art Gallery, 17 November 2007 - 13 January 2008 and Tullie House, Carlisle, 19 January - 16 March 2008.

Cult Musicians handpicks 50 notable figures from the modern world of music and explores the creative genius that earned them the cult label, while celebrating the works that made their names. What makes a cult musician? Whether pioneering in their craft, fiercely and undeniably unique or critically divisive, cult musicians come in all shapes and guises. Some gain instant fame, others instant notoriety, and more still remain anonymous until a chance change in fashion sees their work propelled into the limelight. In Cult Musicians Robert Dimery introduces 50 musicians deserving of a cult status. The book will cover a plethora of genres and boundary-breakers, from afrobeat and art pop to glam rock and proto punk – Bjork and PJ Harvey to Aphex Twin and Wiley. Discover little knowns with small, devout followings and superstars gracing the covers of magazines: each musician is special in their individuality and their ability to inspire, antagonise and delight. Following Cult Artists, Cult Filmmakers and Cult Writers, Cult Musicians is an essential addition to any music lover's library, as well as an entertaining introduction to our weird and wonderful world of music. The Musicians: Alex Chilton, Alice Coltrane, Aphex Twin, Arthur Lee, Arthur Russell, Betty Davis, Bjork, Bobbie Gentry, Brian Eno, Brigitte Fontaine, Captain Beefheart, Delia Derbyshire, Edith Piaf, Fela Kuti, Frank Zappa, Gil Scott-Heron, Iggy Pop, J Dilla, John Cage, Karlheinz Stockhausen, Kat Bjelland, Kool Keith, Laurie Anderson, Lee 'Scratch' Perry, Lili Boulanger, Lydia Lunch, Manu Chao, Marianne Faithfull, Mark E. Smith, Mark Hollis, Moondog, Nick Cave, Nick Drake, Nico, Patti Smith, Peaches, PJ Harvey, Robert Wyatt, Roky Erickson, Ryuichi Sakamoto, Sandy Denny, Scott Walker, Serge Gainsbourg, Sixto Rodriguez, Sun Ra, Syd Barrett, The Slits, Tom Waits, Wiley, Yoko Ono.

Drawn from Birmingham Museums Trust's incomparable collection of Victorian art and design, this exhibition will explore how three generations of young, rebellious artists and designers, such as Edward Burne-Jones, John Everett Millais, and Dante Gabriel Rossetti, revolutionized the visual arts in Britain, engaging with and challenging the new industrial world around them.

Charles Sheeler (1886-1965) was one of the most noted American painters and photographers to embrace the iconography of the machine. But was he high priest or heretic in the religion of mass production and technology that dominated his era? Karen Lucic considers this intriguing question while telling us Sheeler's story, and showing us how Sheeler produced images of extraordinary aesthetic power that provocatively confirmed America's technological and industrial prestige in vivid detail.

Sally Cornelison draws upon contemporary visual, literary, and archival sources and diverse methodologies to interpret how the persona of St. Antoninus and the intercessory effectiveness of his relic cult were advertised to a broad audience of viewers and devotees during the Renaissance. Tracing the history of St. Antoninus' burial sites from 1459 until 1589, this interdisciplinary study demonstrates that the saint's cult was a key element of Florence's sacred cityscape.

Describes the folklore surrounding cats, shows examples of the cat motif in art, and discusses the meanings associated with cats