The following post and the addendum of recent publications are simply a few new titles that have been released since the last Booklist, consisting of a compilation of reviews from various publishers' notes and other source materials:
Archibald Motley: Jazz Age Modernist
This catalogue was published by the Philadelphia Museum of Art in association with Yale University Press in 2013. It focuses on Chase-Riboud's monumental series of sculptures dedicated to the assassinated civil rights leader Malcolm X. Begun in 1969, Chase-Riboud's series is explored in terms of developing artistic practice; her travels to China and North Africa; and her experiences in Europe, particularly during the cultural, political, and social upheavals of the 1960s. The volume also includes a fascinating analysis of the Malcolm X sculptures in light of critical debates on abstract art’s role in memorializing the past.
Beautifully designed and produced, this book presents an illustrated checklist of the 13 sculptures in the series, related drawings and sculptures, and a chronology of Chase-Riboud’s life and career.
Bound to Appear: Art, Slavery, and the Site of Blackness in Multicultural America
Bound to Appear focuses on four of these artists—Renée Green, Glenn Ligon, Lorna Simpson, and Fred Wilson—who have dominated and shaped the field of American art over the past two decades through large-scale installations that radically departed from prior conventions for representing the enslaved. Huey Copeland shows that their projects draw on strategies associated with minimalism, conceptualism, and institutional critique to position the slave as a vexed figure—both subject and object, property and person. They also engage the visual logic of race in modernity and the challenges negotiated by black subjects in the present. As such, Copeland argues, their work reframes strategies of representation and rethinks how blackness might be imagined and felt long after the end of the “peculiar institution.” The first book to examine in depth these artists’ engagements with slavery, Bound to Appear will leave an indelible mark on modern and contemporary art.
Ellen Gallagher: Don't Axe ME
Spanning the past twenty years, Don’t Axe Me will provide one of the first opportunities to thoroughly examine the complex formal and
Published on the occasion of her 2013 exhibition at Aspen Art Museum, Lorna Simpson: Works on Paper highlights four recent bodies of work on paper that explore the complex relationship between the photographic archive and processes of self-fashioning, including a new group of works being developed during her time as the Aspen Art Museum's 2013 Jane and Marc Nathanson Distinguished Artist in Residence. As in Simpson's earlier works, these new drawings and collages take the African-American woman as a point of departure, continuing her longstanding examination of the ways that gender and culture shape the experience of life in our contemporary multiracial society. This beautifully illustrated catalogue features new scholarship by a number of contributors, such as New Yorker staff writer Hilton Als, MoMA Chief Curator of Drawings, Connie Butler, LACMA Chief Curator of Contemporary Art, Franklin Sirmans, and others.
San Francisco Lithographer: African American Artist Grafton Tyler Brown
In this biography, Robert J. Chandler focuses on Grafton Tyler Brown’s
lithography and his life in nineteenth-century San Francisco, offering a study equally fascinating as a business and cultural history and as an
introduction to Brown the artist.
Chandler’s contextualization of Brown’s career goes beyond the issue of
Brown was not respected as a fine artist until after his death. Collectors of western art and Americana now recognize the importance of California and of Brown’s work, some of which depicts Portland and the Pacific Northwest, and they will find Chandler’s checklist, descriptions, and reproductions of Brown’s ephemera—including billheads and maps—as uniquely valuable as Chandler’s contribution to the cultural and commercial history of California. In an afterword, historian Shirley Ann Wilson Moore discusses the circumstances and significance of passing in nineteenth-century America.