Sara J. Pasti

Presents new scholarship, images, and primary sources that explore the art and legacy of a critical yet under-recognized figure in Abstract Expressionism and twentieth-century American art."The gentleman Abstract Expressionist," in the words of poet John Ashbery, Bradley Walker Tomlin was known for his elegance in both painting style and personal comportment. The book includes over forty paintings, works on paper, and printed materials, charting Tomlin's development from art nouveau illustrations of the 1920s to large-scale Abstract Expressionist paintings of the 1950s. The exhibition explores his formative years in Syracuse, early patronage by Condé Nast, and the important role played by the Woodstock art colony. Tomlin is best known as a key figure in the New York School and had close friendships with Adolph Gottlieb, Philip Guston, and Robert Motherwell. Unlike most of his peers, Tomlin focused on the impersonal possibilities of art. His carefully orchestrated paintings resonate with our time's renewed interest in abstraction and design.

Presents recent work by the Brooklyn-based artist known for unsettling works that contend with such topics as domesticity, the body, consumer culture, fashion, and violence.The boxing term "gloves off"-frequently used as a metaphor to characterize brutal political campaigns and post-9/11 military interrogation-aptly describes the subtle aggressions in American popular culture that Sara Greenberger Rafferty lays bare. Blurring the lines between two and three dimensions, Rafferty attaches her wall-mounted works using custom-painted screws that break up the images. She also deploys cracked paint resembling viscous bodily fluids, further "wounding" the objects. Over the past decade, Rafferty has referenced the language, gestures, and props associated with stand-up comedy. This exhibition includes a new large-scale work entitled "Jokes on You," featuring images of ephemera from the collections of the National Museum of American History, which was part of Rafferty's study during her Smithsonian Artist Research Fellowship. Index cards from the Phyllis Diller "Gag File," scanned and recontextualized by Rafferty, underscore the trauma associated with cultural mores that assert control over women's bodies, such as marriage and consumerism.

Celebrates the first exhibition devoted to the finely crafted and researched costumes, objects, and drawings that Mary Reid Kelley creates for her visually and intellectually stimulating videos made in collaboration with Patrick Kelley.Mary Reid Kelley celebrates the first museum exhibition devoted to the finely crafted and researched costumes, objects, and drawings that Mary Reid Kelley creates for her visually and intellectually stimulating videos. An essay by curator Daniel Belasco analyzes the sources and significance of the working objects in how they promote the "unreality effect" of Mary Reid Kelley's videos, which combine both the analog and digital and the personal and historical. A conversation between Corinna Ripps Schaming and Mary Reid Kelley and her long-time collaborator Patrick Kelley reveals insights into their working process. For the first time, the full range of the artist's costumes, props, drawings, furniture, and accessories are photographed and presented as unique works of art.

Examines Steven Holl's intricate and distinctive process of making architecture through approximately one hundred models, related sketches and other studies created for nine recent projects. This publication, and the exhibition at the Samuel Dorsky Museum of Art that it accompanies, investigates the architect Steven Holl's unique process of making architecture, the foundation of which is drawing, almost always by hand. The publication includes an extensive critical essay about Steven Holl and his process by exhibition curator Nina Stritzler-Levine, and additional essays by Kerry Dean Carso and Peter Olshavsky. The projects section that follows these chapters includes descriptions of the eleven projects that are the focus of the exhibition; the exhibition checklist, which corresponds with the organization of the installation; and photographs of the installation.

Presents work by Halahmy and eight other contemporary artists from Iraq: Hayder Ali, Amal Alwan, Mohammed al Hamadany, Ismail Khayat, Hanaa Malallah, Hassan Massoudy, Naziha Rashid, and Qasim Sabti.Text/ures of Iraq presents work by New York-based sculptor Oded Halahmy, a Jewish native of Baghdad, alongside that of eight contemporary artists from Iraq: Hayder Ali, Amal Alwan, Mohammed al Hamadany, Ismail Khayat, Hanaa Malallah, Hassan Massoudy, Naziha Rashid, and Qasim Sabti. Gathering works that reference Iraq's literary past in an effort to better understand the region's present, the book finds its constituent artists celebrating their country as a pastoral idyll, where people of different beliefs, cultures, and ethnicities peacefully coexisted for centuries, while also mourning the gradual, more recent fraying of Iraqi culture. The layered and abraded surfaces of some of the pieces speak to the persistence of violence, while the picturesqueness of others captures the powerful affective textures of nostalgia and exile.The book also features examples of modern Arabic and Hebrew calligraphy, including some variants of this form that evoke hurufiyah, an influential modern Arab variant of Lettrism that uses the swoops and curves of the Arabic alphabet as painterly gestures. From abstract collages constructed out of the remains of destroyed books to the Hebrew calligraphy seen in Halahmy's art, these works demonstrate the importance of the literary in Iraqi society, culture, and visual arts of the past and present day.

Presents work by Halahmy and eight other contemporary artists from Iraq: Hayder Ali, Amal Alwan, Mohammed al Hamadany, Ismail Khayat, Hanaa Malallah, Hassan Massoudy, Naziha Rashid, and Qasim Sabti.Text/ures of Iraq presents work by New York-based sculptor Oded Halahmy, a Jewish native of Baghdad, alongside that of eight contemporary artists from Iraq: Hayder Ali, Amal Alwan, Mohammed al Hamadany, Ismail Khayat, Hanaa Malallah, Hassan Massoudy, Naziha Rashid, and Qasim Sabti. Gathering works that reference Iraq's literary past in an effort to better understand the region's present, the book finds its constituent artists celebrating their country as a pastoral idyll, where people of different beliefs, cultures, and ethnicities peacefully coexisted for centuries, while also mourning the gradual, more recent fraying of Iraqi culture. The layered and abraded surfaces of some of the pieces speak to the persistence of violence, while the picturesqueness of others captures the powerful affective textures of nostalgia and exile.The book also features examples of modern Arabic and Hebrew calligraphy, including some variants of this form that evoke hurufiyah, an influential modern Arab variant of Lettrism that uses the swoops and curves of the Arabic alphabet as painterly gestures. From abstract collages constructed out of the remains of destroyed books to the Hebrew calligraphy seen in Halahmy's art, these works demonstrate the importance of the literary in Iraqi society, culture, and visual arts of the past and present day.

Documents the groundbreaking art of nationally renowned metalsmith Myra Mimlitsch-Gray.In/Animate surveys the past decade of work by Myra Mimlitsch-Gray, internationally renowned metalsmith and head of the Metal Program at SUNY New Paltz. Curated by author Akiko Busch, the exhibition explores a variety of artistic processes using iron, copper, brass, silver, and enameled steel. Mimlitsch-Gray's domestic artifacts suggest a coalescence of body and thing, conveying the mutability of the animate and inanimate and reflecting the intimacy between people and the objects they use. A spoon could be a lip, or a dangling twist of fabric, a vein. Over forty meticulously crafted works contribute to the contemporary conversation about how household objects express ideas about presentation, utility, and class.

Documents the art and science of three-dimensional abstract artworks created in the 1970s and 1980s by one of the leading innovators of fine art holography.The first-ever catalogue dedicated to light artist and holographer Rudie Berkhout, The Floating World focuses on the transmission holograms Berkhout made from 1978 to 1989, a peak period of his creativity and professional recognition. In a transmission hologram, a rear-mounted light shines on a glass plate to illuminate a three-dimensional image. Curator Daniel Belasco situates Berkhout in the art and culture of his day, from the mass-produced holograms on the cover of National Geographic to the other artists working at the intersection of technology and audience participation. Holography scholar Martina Mrongovius provides a detailed account of the technology and craft in Berkhout's working process. Additional catalogue components include reprints of two important artist statements, multiple illustrations of exhibited art works, bibliography, and detailed exhibition history. Berkhout envisioned his abstract holograms as the marriage of science, art, and philosophy.