A collection of photocopied articles published about the David Adler exhibition held at the Art Institute of Chicago, December 6, 2002 to May 18, 2003.
"Presenting Antiquities at the Art Institute of Chicago was published in conjunction with the opening of Mary and Michael Jaharis Galleries of Greek, Roman, and Byzantine Art at the Art Institute of Chicago, November 11, 2012."
The Country Houses of David Adler (1882-1949) discusses in depth fifteen representative houses (many with interiors by Adler's sister, the noted interior designer Frances Elkins), illustrated with fine archival photographs and newly drawn plans. In addition, the full scope of Adler's work is documented in an illustrated catalogue raisonn .
The culmination of a two-part project, this volume takes an extended look at recent, important acquisitions by the Art Institute of Chicago's departments of American Arts, Architecture, Asian Art, European Painting, and Prints and Drawings. Bringing the museum's collecting activities into wide public view, it showcases over forty notable works handpicked by Art Institute curators and the museum's director and president, James N. Wood. Together with its companion issue, which was published in Fall 2003, this publication explores art works acquired between 1992 and 2003, years that have brought significant additions to every area of the Art Institute's holdings. This volume surveys an impressive array of objects, including a glittering Empire card table from early nineteenth-century New York; a fragment of Frank Lloyd Wright's Imperial Hotel, Tokyo (1923); and important paintings and works on paper by artists as diverse as Lee Krasner, Edvard Munch, Ni Zan, and Rembrandt van Rijn. Illuminated by striking, full-colour reproductions and a lively, accessible text, this is an indispensable guide to the newest and finest the Art Institute has to offer.
A revelatory reassessment of one of the most influential American artists of the 20th century Charles White (1918–1979) is best known for bold, large-scale paintings and drawings of African Americans, meticulously executed works that depict human relationships and socioeconomic struggles with a remarkable sensitivity. This comprehensive study offers a much-needed reexamination of the artist’s career and legacy. With handsome reproductions of White’s finest paintings, drawings, and prints, the volume introduces his work to contemporary audiences, reclaims his place in the art-historical narrative, and stresses the continuing relevance of his insistent dedication to producing positive social change through art. Tracing White’s career from his emergence in Chicago to his mature practice as an artist, activist, and educator in New York and Los Angeles, leading experts provide insights into White’s creative process, his work as a photographer, his political activism and interest in history, the relationship between his art and his teaching, and the importance of feminism in his work. A preface by Kerry James Marshall addresses White’s significance as a mentor to an entire generation of practitioners and underlines the importance of this largely overlooked artist.
How did Chicago, a city known for commerce, come to have such a splendid public waterfront—its most treasured asset? Lakefront reveals a story of social, political, and legal conflict in which private and public rights have clashed repeatedly over time, only to produce, as a kind of miracle, a generally happy ending. Joseph D. Kearney and Thomas W. Merrill study the lakefront's evolution from the middle of the nineteenth century to the twenty-first. Their findings have significance for understanding not only Chicago's history but also the law's part in determining the future of significant urban resources such as waterfronts. The Chicago lakefront is where the American public trust doctrine, holding certain public resources off limits to private development, was born. This book describes the circumstances that gave rise to the doctrine and its fluctuating importance over time, and reveals how it was resurrected in the later twentieth century to become the primary principle for mediating clashes between public and private lakefront rights. Lakefront compares the effectiveness of the public trust idea to other property doctrines, and assesses the role of the law as compared with more institutional developments, such as the emergence of sanitary commissions and park districts, in securing the protection of the lakefront for public uses. By charting its history, Kearney and Merrill demonstrate that the lakefront's current status is in part a product of individuals and events unique to Chicago. But technological changes, and a transformation in social values in favor of recreational and preservationist uses, also have been critical. Throughout, the law, while also in a state of continual change, has played at least a supporting role.