Nell Painter made no mention of the fact that she was enrolled as a first-year graduate painting student at the Rhode Island School of Design (RISD) during her guest television appearance on The Colbert Report in March 2010. She wasnt there to talk about the new career she had started from scratch, at age sixty-four, as an artist.
If Andy Warhol had an Instagram account, its feed would probably look like the 3,600 gridded contact sheets he produced during the last decade of his life.
When painter Nell Blaine was just 37 years old, she was almost completely paralyzed from the neck down, after the start of a burgeoning career in the downtown New York City art scene. Yet thats not the closing chapter of Alive Still: Nell Blaine, American Painter, the recently published first biography of this lesser-known postwar American artist, which chronicles Blaines five-decade career.
Daughter Emily Mason decided it was time to sort through her mothers archive of a life spent championing abstract art in America to compile a monograph that richly illustrates and closely examines her mothers paintings, prints, and poems.
This second monograph on Jones fleshes out the details of the artists biography using records kept at Howard University and interviews with former students such as artists David Driskell and Akili Ron Anderson. Rebecca VanDiver reinterprets Joness work, arguing that she nimbly laced together American, African American, African, and European artistic traditionsin order to fashion a brand new one.
Pairing dysfunction with a family history of mental illness, the biography paints Maier as a tortured figure. And, as Marks tells it, it was mental illness that drove Maier to take thousands of images.
Listening to Clay contextualizes the techniques, cultural attitudes towards, and markets for ceramics in twentieth-century Japan. Fitting for a book with the word listening in its title, it has far more words than images.
The first English-language monograph of the photographer to include her familys vintage photographs. The book also draws on the recollections of the Biermann family, and is the first to include the family in its production, consolidating the elusive known facts about Biermann and introducing her to new audiences.
This catalogue, filled with contributions by women in the arts who knew the artist personally, provides a survey befitting the now-unmasked member of the anonymous feminist Guerrilla Girls. The book gathers a chorus of voices representing expertise in the diverse materials Amos used and loved, illustrating her role as a mentor, peer, and friend.