Modernism and Memory: Rhoda Pritzker and the Art of Collecting
This book is a glorious celebration of Rhoda Pritzker’s collection of 20th-century British art, much of which has been donated to the Yale Center for British Art. Pritzker, who was born in Manchester in1914 and emigrated to the United States during the Blitz, was an avid and daring collector of paintings, sculptures, and drawings. Keen to support artists whose reputations were still emerging, and loyal to no single school or style, she developed a unique and impressively diverse collection. While Pritzker most actively purchased pieces in the 1950s and 1960s, her collection offers a fascinating window onto postwar artistic production. Beautifully illustrated, this catalogue features a number of unpublished works and archival materials. Among the artists discussed are key figures, including L. S. Lowry, Barbara Hepworth, Anthony Caro, and Henry Moore, as well as lesser-known artists. The texts elucidate the factors that made Pritzker’s method of collecting so singular-namely her relationship to an evolving transatlantic artistic community and the deeply personal nature of the works she procured.
About the Author
Ian Collins is a curator and independent art writer. Eleanor Hughes is deputy director for Art & Program at the Walters Art Museum and former associate director of Exhibitions and Publications at the Yale Center for British Art.
Out of stock
Modernity has had so many meanings and tries to combine so many contradictory sets of attitudes and values that it has become impossible to use it to define the future. It has ended up crashing like an overloaded computer. Hence the idea is that modernity might need a sort of reset. Not a clean break, not a “tabula rasa,” not another iconoclastic gesture, but rather a restart of the complicated programs that have been accumulated, over the course of history, in what is often called the “modernist project.” This operation has become all the more urgent now that the ecological mutation is forcing us to reorient ourselves toward an experience of the material world for which we don’t seem to have good recording devices. Reset Modernity! is organized around six procedures that might induce the readers to reset some of those instruments. Once this reset has been completed, readers might be better prepared for a series of new encounters with other cultures. After having been thrown into the modernist maelstrom, those cultures have difficulties that are just as grave as ours in orienting themselves within the notion of modernity. It is not impossible that the course of those encounters might be altered after modernizers have reset their own way of recording their experience of the world. At the intersection of art, philosophy, and anthropology, Reset Modernity! has assembled close to sixty authors, most of whom have participated, in one way or another, in the Inquiry into Modes of Existence initiated by Bruno Latour. Together they try to see whether such a reset and such encounters have any practicality. Much like the two exhibitions Iconoclash and Making Things Public, this book documents and completes what could be called a “thought exhibition:” Reset Modernity! held at ZKM | Center for Art and Media Karlsruhe from April to August 2016. Like the two others, this book, generously illustrated, includes contributions, excerpts, and works from many authors and artists. ContributorsJamie Allen, Terence Blake, Johannes Bruder, Dipesh Chakrabarty, Philip Conway, Michael Cuntz, Eduardo Viveiros de Castro, Didier Debaise, Gerard de Vries, Philippe Descola, Vinciane Despret, Jean-Michel Frodon, Martin Giraudeau, Sylvain Gouraud, Lesley Green, Martin Guinard-Terrin, Clive Hamilton, Graham Harman, Antoine Hennion, Andres Jaque, Pablo Jensen, Bruno Karsenti, Sara Keel, Oleg Kharkhordin, Joseph Leo Koerner, Eduardo Kohn, Bruno Latour, Christophe Leclercq, Vincent-Antonin Lepinay, James Lovelock, Patrice Maniglier, Claudia Mareis, Claude Marzotto, Kyle McGee, Lorenza Mondada, Pierre Montebello, Stephen Muecke, Cyril Neyrat, Cormac O’Keeffe, Hans Ulrich Obrist, P3G, John Palmesino, Nicolas Prignot, Donato Ricci, Ann-Sofi Ronnskog, Maia Sambonet, Henning Schmidgen, Isabelle Stengers, Hanna Svensson, Thomas Thwaites, Nynke van Schepen, Consuelo Vasquez, Peter Weibel, Richard White, Aline Wiame, Jan Zalasiewicz Exhibition April 10, 2016–August 21, 2016ZKM | Center for Art and Media Karlsruhe Copublished with ZKM | Center for Art and Media, Karlsruhe
About the Author
Bruno Latour, a philosopher and anthropologist, is the author of Reassembling the Social: An Introduction to Actor-Network Theory, Our Modern Cult of the Factish Gods, An Inquiry into Modes of Existence, and many other books. He curated the ZKM exhibits ICONOCLASH and Making Things Public and coedited the accompanying catalogs, both published by the MIT Press.
COMPOSING TO COMMUNICATE: A STUDENT’S GUIDE takes a conversational, “how to” approach to show you how writing connects to your academic and career goals. The textbook’s jargon-free instruction provides you with accessible strategies that can be applied to all of your college writing tasks. The textbook focuses on teaching you how you can use writing and communicating to solve real problems and address issues that matter to you. It supports this theme by presenting student writing samples that demonstrate how writing for class can be more than just an academic exercise. Learning objectives open each chapter so you can focus on the most important points. The variety of writing projects, readings, and interviews with student writers aim to make your composition course more interesting than you may have imagined it could be.
About the Author
Robert Saba is the associate director of undergraduate writing programs at Florida International University in Miami. He has taught college writing for more than twenty-five years, specializing in first-year composition, advanced research, approaches to literature, courses about the history of the essay, and personal narratives. His publications include articles on writing, politics, and film, as well as short fiction and French-to-English translations.
“The Story of Art”, one of the best-known and best-loved books on art ever written, has been a world bestseller for over half a century. Professor Gombrich’s clear and engaging text combines with hundreds of full-colour illustrations to trace the history of art in an unfolding narrative, from primitive cave paintings to controversial art works of the present day.
Written for pre-service and in-service early childhood professionals in child care, preschool, or kindergarten through third grade settings, Art & Creative Development For Young Children, 8th Edition, takes a child-centered approach to art education. Updated throughout, the book includes an in-depth discussion of technology to aid teachers in understanding the role that technology can play in children’s visual art appreciation and production. Guidelines for establishing an inclusive art program in classrooms for young children are included for early childhood professionals. Activities and recipes make the text a valuable resource for in-service teachers.
About the Author
Jill Englebright Fox is a professor of early childhood education and the Director of Assessment at the University of Houston—Victoria. After teaching kindergarten and first grade in the Texas public schools for eight years, she received her Ph.D. in Early Childhood Education from the University of North Texas. She continues to be active in early childhood classrooms as a volunteer, a professional consultant, a researcher, and a teacher educator. Robert Schirrmacher was an instructor with the San Jose/Evergreen Community College District. He received his Ph.D. in Early Childhood Education from the University of Illinois. His experience includes teaching preschool, kindergarten, and first grade as well as teaching at undergraduate and graduate levels. He has assisted in Montessori schools and directed programs for young children. Dr. Schirrmacher has served as a consultant to parent groups and public and private early childhood programs. As an advocate for developmentally appropriate education and quality care for young children, he has been involved in professional organizations at the local, state, and national levels.