Six Degrees of Separation

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Buffie Johnson

This vivid and provocative book provides an unparelleled overview of the Goddess as she was defined by the ancient societies whose people worshiped her. The author spent more than four decades studying Goddess images--statues, religious artifacts, and art--from Asia, Europe, the Middle East, and other parts of the world. With more than 400 magnificent illustrations and photographs (many in color) of historic and prehistoric objects, this book provides a diverse display of stunning images that focus on the Goddess in relation to her sacred animals.

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conceived and curated by Sandra S. Phillips

Profiles the homesteads of the Hudson River artists, including Thomas Cole, Frederic E. Church, Albert Bierstadt, and Asher B. Durand

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Gillian Whiteley

Trash, garbage, rubbish, dross, and detritus - in this enjoyably radical exploration of 'Junk', Gillian Whiteley rethinks art's historical and present appropriation of junk within our eco-conscious and globalised culture. She does this through an illustrated exploration of particular materials, key moments and locations and the telling of a panoply of trash narratives. Found and ephemeral materials are primarily associated with assemblage - object-based practices which emerged in the mid-1950s and culminated in the seminal exhibition 'The Art of Assemblage' in New York in 1961. With its deploy.

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Bruce Altshuler

The avant-garde is a twentieth-century phenomenon. By the turn of the nineteenth century, artists were beginning to address a far larger audience than ever before, and it was one on whose understanding they could no longer depend. Aesthetic concerns, too, had shifted from representing visual phenomena to reconfiguring the visible world in new and complicated ways. The public was rarely amused. Indeed, as these newer forms of art were presented in now famous exhibitions, derision and anger were the customary responses of the public and the critics. Artists formed more or less cohesive groups of like-thinking individuals who styled themselves the "avant-garde," really a military term for those pathfinders who first venture into unknown or enemy territory. Through photographs of personalities, installations, and works of art, and in a lively text that recounts the artistic thinking and the gossip that surrounded each new movement, The Avant-Garde in Exhibition: New Art in the 20th Century traces this phenomenon from its beginnings in the Fauvist Salon d'Automne in Paris in 1905 through such notorious events as the exhibitions of the Section d'Or (Paris) and the Blue Rider (Munich), the Armory Show (New York), the Futurist 0-10 exhibition (Petrograd), the Dada Fair (Berlin), the Nazi's Degenerate Art Exhibition (Munich), the First Papers of Surrealism (New York), Peggy Guggenheim's Art of This Century (New York), the Ninth Street Show (New York), the Gutai Art Association (Japan), Le Vide (Paris), Full-Up (Paris), the New Realists (New York), Primary Structures (New York), and When Attitudes Become Form (Bern).