LACMA, Los Angeles

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Women Artists: 1550-1950
Ann Sutherland Harris, Linda Nochlin (Eds.)


This book represents a major event in the art world. It is based on the first international exhibition of art by women, assembled by the Los Angeles County Museum of Art from dozens of private and public collections throughout the world, among them the Metropolitan, the Louvre, the Uffzi, the Victoria and Albert, and the Prado. It contains the work, chronologically arranged, of eighty-four women painters, from the Renaissance to the mid-twentieth century, from sixteenth-century portraiture to modern abstraction.

Included are works by artists as familiar as Kathe Kollwitz, Mary Cassatt, Marie Laurencin, Georgia O’Keeffe, Léonor Fini, and Sonia Delaunay. Here, as well, is the work of women who received much attention, even acclaim, in their own time but whose accomplishments art history has neglected and whose paintings are now largely inaccessible to the public — artists such as Anne Vallayer-Coster in the eighteenth century (who was praised for painting “like a clever man”), Judith Leyster (whose Jolly Toper was attributed until recently to Frans Hals), Vanessa Bell, the brilliantly talented sister of Virginia Woolf, and Anna Dorothea Lisiewska Therbusch (about whom her contemporary Diderot wrote: ‘‘It was not talent that she lacked in order to create a big sensation in this country..’.it was youth; it was beauty: it was modesty; it was coquetry; one must be ecstatic over the merits of our great male artists, take lessons from them, have good breasts and good buttocks, and surrender oneself to one’s teachers”). Individual commentaries consider the work of each artist in the context of her time, tell the story of her life, often quoting from letters, journals, and the memoirs of contemporaries, and discuss not only the techniques and the principles of her art but also the conditions and expectations that fostered or inhibited her development. Two brilliant critical essays encompassing all the periods represented are provided by the distinguished art historians Ann Sutherland Harris and Linda Hochlin.

Published on the occasion of the exhibition from the Los Angeles County Museum of Art, Los Angeles CA December 21, 1976-March 13, 1977. 1981 Edition.

* Condition: Average-Good (general age wear – light spine creasing and tanning/sun-spotting to pages, weakened bind) – All care is taken to provide accurate condition details of used books, photos available on request.

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Man Ray
1966

The great catalogue for a major exhibition held in Los Angeles in 1966 on the work of Man Ray. Published by LACMA for the occasion, this 148 page English catalogue is very generous in its content, with reproductions of much of Man Ray’s work across painting, sculpture and photography, amongst much more, it also features an introduction byJules Langsner, Man Ray’s writings on his own work and observations, texts about Man Ray by his friends (Paul Éluard, Marcel Duchamp, André Breton, Rrose Sélavy, Tristan Tzara, Hans Richter), plus other texts, catalogue of the exhibition, Chronology, Major Exhibitions, and Selected Bibliography. 

* Condition: Good-Very Good – (light rubbing/wear/tanning to book from age, but overall tight and clean copy)  – All care is taken to provide accurate condition details of used books, photos available on request.

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Man Ray 1966
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Color and Fire

 

Drawn from the collection of the Los Angeles County Museum of Art, Color & Fire: Defining Moments in Studio Ceramics, 1950-2000 accompanies a major touring exhibition on the history of ceramic art in the second half of the twentieth century. Illustrated with more than 250 color photographs, Color & Fire explores the roles of key artists and the major stylistic movements they developed during the decades of pioneering innovation.

Based on the premise that the history of studio ceramics can be regarded as a series of breakthroughs or milestones, Color & Fire highlights the moments when talented artists came together to produce work in clay that challenged traditions and promoted aesthetic freedom. In the early years of the twentieth century, pottery was primarily mass-produced in factories, where specialists in wheel throwing, glazing, and kiln firing worked under a system of divided labor. In the 1930s and 1940s, ceramists such as the renowned team of Gertrud and Otto Natzler began to perform all of these exacting functions-from mixing clay to firing kilns-in their own studios, creating one-of-a-kind pots, breathtaking in design and construction. Since that time, ceramic art has followed a metaphorical journey from the earth to the air, as concerns with utility, materials, and techniques have given way to abstract conceptual considerations.

In Los Angeles in the 1950s, Peter Voulkos and his students upset the traditional values of craft pottery and the Bauhaus- inspired “form follows function” doctrine by creating nonfunctional, oversized, off-kilter vessels with cracks and holes, along with massive Abstract Expressionist monuments. In the 1960s in northern California, Robert Arneson and his students shattered taboos against clay as a sculptural medium in the oversized, off-kilter vessels with cracks and holes, along with massive Abstract Expressionist monuments. In the 1960s in northern California, Robert Arneson and his students shattered taboos against clay as a sculptural medium in the hands of potters with their radical, irreverent, and satirical “Funk” pieces. Today, no longer confined to the decorative arts or other craft categories, ceramic artists around the world explore an unlimited range of influences, styles, and ideas, engaging in a graceful and inventive dialogue with centuries of ceramic tradition.

A celebration as well as a valuable art-historical survey, Color & Fire: Defining Moments in Studio Ceramics, 1950-2000 showcases the finest works form the unparalleled collection of the Los Angeles County Museum of Art. Accessible to the novice as well as to the enthusiast, the book includes essays by Grechen Adkins, Garth Clark, Jo Lauria, Rebecca Niederlander, Susan Peterson, and Peter Selz.

* Condition: Very Good  – All care is taken to provide accurate condition details of used books, photos available on request.

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