A truly popular art form, the glamorous paintings of Mexican calendar girls have a long and fascinating historyas advertisements, enticements, and emblems of Mexican cultural heritage and pride. The result of years of research, this playful and informative book reproduces more than 150 vibrantly colorful calendar images, plus archival photographs and other materials that illuminate their creation. A fully bilingual text gives an overview of the calendars' social and cultural history, along with biographies of the talented artists who created them. Also including a foreword by the renowned Mexican cultural critic Carlos Monsivis, Mexican Calendar Girls presents this popular and delightful art as never before.
After World War I, artists without formal training “crashed the gates” of major museums in the United States, diversifying the art world across lines of race, ethnicity, class, ability, and gender. At the center of this fundamental reevaluation of who could be an artist in America were John Kane, Horace Pippin, and Anna Mary Robertson “Grandma” Moses. The stories of these three artists not only intertwine with the major critical debates of their period but also prefigure the call for inclusion in representations of American art today. In Gatecrashers, Katherine Jentleson offers a valuable corrective to the history of twentieth-century art by expanding narratives of interwar American modernism and providing an origin story for contemporary fascination with self-taught artists.
Printing and collecting the revolution : the rise and impact of Chicano graphics, 1965 to now / E. Carmen Ramos -- Aesthetics of the message : Chicana/o posters, 1965-1987 / Terezita Romo -- War at home : conceptual iconoclasm in American printmaking / Tatiana Reinoza -- Chicanx graphics in the digital age / Claudia E. Zapata.
For many years, Maud Lewis was one of Nova Scotia's best-loved folk painters. In the 1990s she was embraced by the rest of the country when the landmark exhibition of her work The Illuminated Life of Maud Lewis travelled across Canada. By the time the tour was over, half a million people had become acquainted with her delightful work. Between 1938, when she married Everett Lewis, until her death in 1970, Maud Lewis lived in a tiny one-room house near Digby, Nova Scotia. Over the years, she painted the doors inside and out, the windowpanes, the walls and cupboards, the wallpaper, the little staircase to the sleeping loft, the woodstove, the breadbox, the dustpan, almost everything her hand touched. Her house was a joy to behold, and it became a magnet for tourists as well as a focal point in her village. In 1979, after Everett Lewis died, the Maud Lewis Painted House Society worked diligently to raise funds to acquire, preserve, and display the house as part of the cultural heritage of the area as well as a memorial to their beloved artist. In 1984, the house and its contents were purchased by the Province of Nova Scotia for the Art Gallery of Nova Scotia. In The Painted House of Maud Lewis, Laurie Hamilton, the conservator at the Art Gallery of Nova Scotia, shows how all the different parts of the house -- the building itself, the painted household items, even the wallpaper -- were catalogued, conserved, and prepared for exhibition. The preliminary stages of conservation treatment began in 1996 in a most unusual location: the Sunnyside Mall in Bedford, just outside Halifax, where conservators worked in full view of the public. The conservators used established techniques and invented new ones to complete their unique project and documented every stage of the restoration photographically. The book also features more than sixty-five colour photos including several taken by noted photographer Bob Brooks in 1965 for the Star Weekly. Today, anyone can visit the tiny house that has become a folk art phenomenon. The restoration story spans two decades, but the story of the Painted House continues as each new visitor to the Art Gallery of Nova Scotia finds delight and inspiration in Maud Lewis's joyous vision.
"Maud Lewis: Paintings for Sale accompanies a major exhibition of the artist's work at the McMichael Collection of Canadian Art and--featuring many paintings previously unseen by the public--is the most in-depth book on Lewis's art ever produced. The book features a 2,500 word curatorial essay by Sarah Milroy, chief curator at the McMichael Collection of Canadian Art, on Lewis's life and art, focusing especially on her aesthetic achievements, followed by reproductions of approximately 20 artworks of Maud Lewis. Reproductions will showcase Lewis's repetition and re-examination of her favourite subjects such as kittens, oxen, and harbour scenes."--
Whenever we need a little comforting, we love to make one of the tried & true recipes from Grandma’s recipe box. We know they’ll bring back the warmth and love of her kitchen, waiting (or even helping!) as she whipped up a favorite food just for us. In this book, you’ll find lots of delicious comfort food recipes, shared by home cooks just like you.
Maud Lewis (1903-1970) was recognized and revered in her own lifetime. She offered her endearing images to the passing world through her roadside sign, Paintings for Sale, and was rewarded by the enthusiastic response she received from both the community and tourists as well as from art collectors. The Illuminated Life of Maud Lewis is an invitation to share once again with the world the perceptions of this celebrated Nova Scotia folk artist in prose, photographs, and reproductions of her works.
"In book form, Kitchen Table is more intimate.... Unlike the experience of meandering through a museum, stepping back to appreciate the images and nearing the text panels to skim them, the pace of exploration is now in a person's hands." -Hilary Moss, New York Times This publication is dedicated solely to the early and canonical body of work by American artist Carrie Mae Weems (born 1953). The 20 photographs and 14 text panels that make up Kitchen Table Series tell a story of one woman's life, as conducted in the intimate setting of her kitchen. The kitchen, one of the primary spaces of domesticity and the traditional domain of women, frames her story, revealing to us her relationships--with lovers, children, friends--and her own sense of self, in her varying projections of strength, vulnerability, aloofness, tenderness and solitude. As Weems describes it, this work of art depicts "the battle around the family ... monogamy ... and between the sexes.G6 Weems herself is the protagonist of the series, though the woman she depicts is an archetype. Kitchen Table Series seeks to reposition and reimagine the possibility of women and the possibility of people of color, and has to do with, in the artist's words, "unrequited love."
