Bøker utgitt av McMullen Museum of Art

An examination of the balance between modernity and tradition in Cuba's turn-of-the-century artistic evolution. The Lost Generation La generación perdida accompanies an exhibition of the same name at the McMullen Museum of Art, Boston College. The modern artistic ceramic movement in Cuba, almost exclusively comprised of women artists (including Amelia Peláez, Mirta García Buch, and María Elena Jubrías), emerged toward the end of the 1940s and continued into the next decade. The ceramicists invited Cuba's modernist protagonists, including René Portocarrero, Luis Martínez Pedro, and Wifredo Lam, to participate in designing ceramics at the Taller de Santiago de Las Vegas. The workshop thus became a locus for the fermentation of Cuban modernist expression. Juan Miguel Rodríguez de la Cruz, the workshop's proprietor, recognized the artistic value of the ceramicists' production and he, along with the women he hired, encouraged collaboration with their male contemporaries. A symbiotic artistic practice grew in which the ceramicists introduced ideas and designs to the painters, whose fledgling attempts in ceramics took eventual flight. As the painters' familiarity with the new medium grew, similar forms appeared in their two-dimensional renderings, which are now synonymous with Cuban modernism. During the post-Revolutionary period of 1959-85, the Taller became part of Cuba's National Patrimony, continuing the tradition of producing serial and artistic pieces. As the Revolutionary regime wore on, the Taller's importance waned, artists left Cuba, and independent workshops flourished. While the Taller de Santiago no longer boasts importance in artistic production today, it left an indelible mark on Cuban modernism. With essays by Cuban, American, and Cuban-American scholars, The Lost Generation La generación perdida provides a background on the twentieth-century avant-garde movements in Cuba; delves into the narrative of an overlooked group of Cuban women ceramicists, assessing the implications of their work on modernism; and, finally, explores in depth the women artists of the third avant-garde generation (1949-58).

"This catalogue accompanies an exhibition of alternative comics from the 1980s and 1990s, with a particular focus upon artists who contributed to the anthologies 'Raw' (1980-91) and 'Weirdo' (1981-94), as well as other venues such as alternative newspapers and independent presses. Following the popularity and eventual decline of underground comics in the 1960s and 1970s, this next generation of cartoonists explored more complex themes and forms and garnered eclectic readers via new markets. The volume comprehensively examines the world of art-and-litary-comics from interdisciplinary perspectives. Essayists from art historical, literary, and other fields focus on the role of influential editors and publishers as well as the strategies artists employed to get comics taken seriously by readers. Subjects include the aesthetics of 'Raw' and 'Weirdo,' the punk-influenced work of Gary Panter, and the genre-breaking work of the Hernandez Brothers"

"This publication is issued in conjunction with the exhibition 'Eaglemania: Collecting Japanese art in Gilded Age America' in the Daley Family Gallery at the McMullen Museum of Art, Boston College, February 11-June 2, 2019"--Title page verso.

Issued in conjunction with the exhibition of the same name held at the McMullen Museum of Art, February 5-June 3, 2018.

Accompanying an exhibition at the Yale University Art Gallery and the McMullen Museum of Art, Boston College, this book offers material that is chronologically and geographically distant from imperial Rome, the better to characterize and understand local responses and identities within the provinces as they were expressed through material culture.

Gustave Courbet (1819-77) was a French artist whose work heralded the realist movement of the nineteenth century, and his paintings have had a profound influence on other artists from around the world, including Claude Monet, James McNeill Whistler, and Paul Cezanne. This title looks at the artist's reception on both sides of the Atlantic.

Abstract expressionist painter Jackson Pollock is famous for the highly textured works created through his trademark "drip" technique in which he poured paint from its can directly onto the canvas. This book explores the personal and artistic interrelationship between him and Swiss-born photographer and graphic designer Herbert Matter.

A catalogue that features illustrations of the outward 'masks' that Georges Rouault employed - those of circus players, prostitutes, judicial figures, and even the face of Christ. It includes essays that lend an interdisciplinary context to the striking images, recovering Rouault's rightful place in modern painting.