Résumé : Sommaire : Interview. Michael Archer in conversation with Mona Hartoum -- Survey. Itinerary / Guy Brett -- Focus. Recollection / Catherine de Zegher -- Artist's choice. For a discovery of a zone of images, 1957 / Piero Manzoni -- Reflections on exile, 1984 / Edward Said -- Artist's writings. Proposal for New Contemporaries : Waterworks, 1981 ; Slade School of Art : Waterworks, 1981 ; Look no body!, 1981 ; Do-it, home version, 1996 ; Under siege, 1983 ; Interview with Sara Diamond, 1987 ; Interview with Claudia Spinelli, 1996 ; Interview with Janine Antoni, 19998 ; Interview with Jo Glencross, 1999 ; Interview with Chiara Bertola, 2014 / [Mona Hartoum] -- Dichotomies of belonging / Nancy Spector -- Chronology.

Résumé : The only complete career retrospective of this visionary painter - a classic, now available again in a handsome new binding. Agnes Martin's career spanned over seven decades. Though a major influence on Minimalist painters, Martin saw her own work, more closely related to Abstract Expressionism, her paintings being 'meditations on innocence, beauty, happiness and love.' More than 150 of Martin's paintings present the full extent of her artistic career, and her own words explain how they were inspired by ideas on love, joy, beauty, humility, solitude, perfection, 'freedom from the cares of this world', destiny and the nature of existence. Martin's writings are fascinatingly direct in explaining her philosophies on art and on the themes of life that inspire her paintings and drawings, and facsimilies presenting her words in her own handwriting intimately convey her thoughts. The artist's works and writings are here introduced by art dealer and film director, Arne Glimcher, who represented the artist for most of her career and was a good friend. He opens the book with reminiscences of working with Martin and how her art developed during her life, and later in the book are notes on visits he made to Martin's studio and home in New Mexico. With beautifully accurate reproductions of Martin's works, and foldouts to show her series as groups, as well as the comprehensive presentation of works and writings, this luxurious book is unprecedented: a uniquely full and intimate celebration of the artist.

Résumé : An inspiring and surprising celebration of U.S. women's history told through Smithsonian artifacts illustrating women's participation in science, art, music, sports, fashion, business, religion, entertainment, military, politics, activism, and more. This book offers a unique, panoramic look at women's history in the United States through the lens of ordinary objects from, by, and for extraordinary women. Featuring more than 280 artifacts from 16 Smithsonian museums and archives, and more than 135 essays from 95 Smithsonian authors, this book tells women's history as only the Smithsonian can. Featured objects range from fine art to computer code, from First Ladies memorabilia to Black Lives Matter placards, and from Hopi pottery to a couch from the Oprah Winfrey show. There are familiar objects--such as the suffrage wagon used to advocate passage of the 19th Amendment and the Pussy Hat from the 2016 Women's March in DC--as well as lesser known pieces revealing untold stories. Portraits, photographs, paintings, political materials, signs, musical instruments, sports equipment, clothes, letters, ads, personal posessions, and other objects reveal the incredible stories of such amazing women as Phillis Wheatley, Julia Child, Sojourner Truth, Mary Cassat, Madame CJ Walker, Amelia Earhart, Eleanor Roosevelt, Mamie Till Mobley, Dolores Clara Fernandez Huerta, Phyllis Diller, Celia Cruz, Sandra Day O'Connor, Billie Jean King, Silvia Rivera, and so many more. Together with illuminating text, these objects elevate the importance of American women in the home, workplace, government, and beyond. Published to commemorate the centennial of the 19th Amendment granting women the right to vote, Smithsonian American Women is a deeply satisfying read and a must-have reflection on how generations of women have defined what it means to be recognized in both the nation and the world. - Note de l'éditeur

Résumé : "This publication is a highly visual celebration of the massively popular, but now largely forgotten, Britain Can Make It exhibition. Organised by the Council of Industrial Design, it was held in empty ground-floor galleries of the Victoria & Albert Museum, from September to December 1946. A groundbreaking, morale boosting exhibition, it showcased British design and manufacturing. Despite its short run, it boasted an incredible 1.5 million visitors, and remains one of the most visited exhibitions ever held at the V&A.Long before the end of the Second World War hostilities, the government's Post War Export Trade Committee recognised the importance of promoting the country's manufacturing capabilities. Plans for an exhibition of 'National Importance' were set in place in October 1942, for an event that would illuminate the gloom of austerity, educate the public in the value of good design, and most importantly, boost much needed foreign trade. Britain's need to promote, manufacture and export its goods was urgent.The job of organising the exhibition was given to the Council of Industrial Design on behalf of the government's Board of Trade. From its early planning stages, there was a desire to create an exhibition that was full of color, light and airy, and far removed from the browns and greens of the inter-war years. The exhibition was also intended to work as a public morale boosting exercise and it did, attracting visitors from around the country. Mile-long queues constantly formed outside the V&A. Interviewed in 1984, James Gardner, the designer of the exhibition, commented on the motivation for it: 'We'd got to get British manufacturers to produce well-designed goods quickly and to cheer the British public up. They were so depressed. Give them something to look forward to. You know, this was the dream of the future, if you like.' BCMI was not a trade show. Manufacturers had to put forward their products and only those deemed the best examples were chosen by specialist committees. An accompanying catalog detailing the manufacturers of products (and significantly, wherever possible the names of the designers of each product), could be bought by visitors from one of the bookstalls dotted around the exhibition. The catalog explained when goods would be available for the home and trade markets: 'Now, ' 'Soon' or 'Later.' Most often they were 'Later' for the home market which led to negative comments in the press, such as: 'Britain Can't Have It, ' 'Britons can't buy it, ' and 'Britain Can't Get It.'Products representing key consumer groups, including clothing, leisure, and domestic products were displayed. These were diverse, from pottery and glass, to radios, women's and men's wear, furniture, fabrics, toys, jewelry, boilers, taps, and sporting equipment. The Furnished Rooms section showcased room sets that sought to show how a range of people from different professional groups might live.By taking its structure loosely from the exhibition itself and from the accompanying Design '46 catalog, Britain Can Make It will take the reader through an eclectic range of subject areas and consumer products. The book begins with a discussion of the political climate and economic motivations that led to this exhibition of 'National Importance' taking place, and an overview of the contemporary social context. Additional essays will cover specific aspects of the exhibition itself, including the surrealist design of the exhibition, the art and artists involved, the naming, and the 'Design Quiz.' Most chapters will be in the form of short illustrated essays." -- V&A website

Résumé : One of the world's most singular guitarists, Loren Connors is among few living musicians whose prolific body of work can be said to be wholly justified in its plenitude. On more than 100 records across almost four decades, Connors has wrung distinct shades of ephemeral blues from his guitar, its sound ever-shifting while remaining unmistakably his own. From his early, splintered take on the Delta bottleneck style through his song-based albums with Suzanne Langille and on to the painterly abstraction that defines his current work, Connors has earned the admiration of many, leading to collaborations with the likes of John Fahey, Jim O'Rourke, Keiji Haino, and Kim Gordon.In the mid-80s, Connors took a partial break from music and focused instead on the art of haiku, for which he received the Lafcadio Hearn Award in 1987. With his wife Suzanne Langille he also co-wrote an article on blues and haiku, "The Dancing Ear," published in the Haiku Society of America's journal. It was during this period that Connors penned the material that appears in Autumn's Sun, a chapbook first published by Thurston Moore and Byron Coley's Glass Eye in 1999. The text features diary excerpts from 1987, lyrically fragmented observations interspersed with haiku-like poems that paint an idyllic impression of the passing seasons in his home of New Haven, Connecticut. With synesthetic perception, Connors gazes from tranquil domestic streets. Sycamore, elm, and catalpa trees are activated by the breeze and made to rustle in unison with their natural and artificial surroundings, including the howling dogs from which Connors derived his 'Mazzacane' moniker. As summer fades to winter, Connors portrays death as an undramatic certitude, the flux of his own maturation reflected in musings on his son's. Like his music, Autumn's Sun is tender without being sentimental, conjuring those rare, delicate moments when time stands still.This edition includes "The Dancing Ear" and an introduction by Lawrence Kumpf