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.

"This book takes you through the collection gallery by gallery, illuminating the art and installations in each room"--From preface.

Presents delicious and easy to prepare recipes and dishes from the northern region of Mexico.

In the eighteenth and early nineteenth centuries the first modern, public museums of art—civic, state, or national—appeared throughout Europe, setting a standard for the nature of such institutions that has made its influence felt to the present day. Although the emergence of these museums was an international development, their shared history has not been systematically explored until now. Taking up that project, this volume includes chapters on fifteen of the earliest and still major examples, from the Capitoline Museum in Rome, opened in 1734, to the Alte Pinakothek in Munich, opened in 1836. These essays consider a number of issues, such as the nature, display, and growth of the museums’ collections and the role of the institutions in educating the public. The introductory chapters by art historian Carole Paul, the volume’s editor, lay out the relationship among the various museums and discuss their evolution from private noble and royal collections to public institutions. In concert, the accounts of the individual museums give a comprehensive overview, providing a basis for understanding how the collective emergence of public art museums is indicative of the cultural, social, and political shifts that mark the transformation from the early-modern to the modern world. The fourteen distinguished contributors to the book include Robert G. W. Anderson, former director of the British Museum in London; Paula Findlen, Ubaldo Pierotti Professor of Italian History at Stanford University; Thomas Gaehtgens, director of the Getty Research Institute; and Andrew McClellan, dean of academic affairs and professor of art history at Tufts University. Show more Show less

The first major visual and cultural exploration of the legacy of La Malinche, simultaneously reviled as a traitor to her people and hailed as the mother of Mexico An enslaved Indigenous girl who became Hernán Cortés's interpreter and cultural translator, Malinche stood at center stage in one of the most significant events of modern history. Linguistically gifted, she played a key role in the transactions, negotiations, and conflicts between the Spanish and the Indigenous populations of Mexico that shaped the course of global politics for centuries to come. As mother to Cortés's firstborn son, she became the symbolic progenitor of a modern Mexican nation and a heroine to Chicana and Mexicana artists. Traitor, Survivor, Icon is the first major publication to present a comprehensive visual exploration of Malinche's enduring impact on communities living on both sides of the US-Mexico border. Five hundred years after her death, her image and legacy remain relevant to conversations around female empowerment, indigeneity, and national identity throughout the Americas. This lavish book establishes and examines her symbolic import and the ways in which artists, scholars, and activists through time have appropriated her image to interpret and express their own experiences and agendas from the 1500s through today.

This guide is a unique resource for art lovers and tourists alike. Europe's foremost art galleries and museums are presented here in a comprehensive, accessible and attractive collection.

This study uses data from the 1985 Survey of Public Participation in the Arts (SPPA) to explore the composition of the audience for art museums and art galleries in the United States. Organized into four parts, part 1 reports that when asked if they had visited an art museum or art gallery in the 12 months preceding their 1985 SPPA interview, 22 percent of the adult population said that they had. The report goes on to present art museum participation rates across a variety of demographic variables--income, education, age, gender, race, geographic distribution, and occupation. This section also compares the 1985 SPPA participation rates with those of the Americans and the Arts Studies, and with participation rates from Great Britain, France, Sweden, and Quebec. A statistical model designed to predict the probability of attendance based on demographic factors also is developed in part 1, but this model's low predictive ability leads to the conclusion that other variables need to be examined. Part 2 of the report focuses on three SPPA socialization questions that are most likely to be linked to attendance at art museums: whether or not, and at what ages, the respondent had ever taken lessons in the visual arts; whether or not, and at what ages, the respondent had taken art appreciation classes; and whether or not, and the frequency with which, parents had taken the respondent to museums. An analysis of these questions reveals that all three of these factors show a strong relationship with increased attendance. Part 3 of the report examines unsatisfied demand and barriers to attendance. Part 4 presents a profile of the museum audience and examines how the demographic characteristics of the SPPA respondents are distributed among the museum audience and how this audience profile compares to the profile of the general population. An appendix that presents the mathematical results from the three logit analyses (a variation of regression analysis) that were conducted with the SPPA museum attendance data also is included. (DB)