Though conservation plays a decisive role in the public's experience of artworks in museums, visitors are often unaware of what it takes to keep them vibrant, intact and in some cases existent, and until now there has never been a comprehensive, accessible volume that explains this science to the layperson. Here, the respected conservation scholar Richard Newman recounts tales of uncovered forgeries and unknown masterpieces from more than 130 years of MFA history--tales of important works rescued from neglect and abuse, and of new insights that have helped us understand how artists and craftspeople throughout history worked, lived and created the masterpieces we now see on display. Covering objects from all periods, media and genres--ancient to contemporary, painting to furniture, Eastern to Western--this latest volume in the MFA Highlights series invites readers to share a backstage look at the restoration, study and even discovery of some of the world's most remarkable artworks.
Introduction by Sharon Corwin. Foreword by William D. Adams, Peter Lunder, Paula Lunder. Text by Elizabeth Finch, Erica Hirshler, Lauren Lessing, Margaret MacDonald, Virginia Mecklenburg, William Truettner, Ankeney Weitz. Contributions by Mark Bessire, Hannah Blunt, Elizabeth Broun, Thomas Colville, Ruth Fine, Lee Glazer, George Gurney, Barbara Haskell, David Lubin, Linda Merrill, Kenneth J. Myers, Susan Schulman, Elizabeth Spear, Martha Tedeschi, Thayer Tolles, Adam Weinberg, Eli Wilner, et al.
Promised to the Colby College Museum of Art in 2007, the Lunder Collection comprises more than 500 works of art, including paintings, sculptures, prints and photographs, and is widely recognized as one of the most important collections of American art ever assembled by private collectors. The Lunder Collection: A Gift of Art to Colby College is a richly illustrated volume featuring more than 270 collection highlights. Conceived as the companion to the 2009 publication Art at Colby, the catalogue includes seven essays on the collection's major areas: ancient Chinese art; art through the American Centennial; the art of James McNeill Whistler; art of the Gilded Age; art of the American West; American Modernism and contemporary art; as well as 17 reflections on specific works or groups of work in the collection.
Incendiary Traces complements the first museum exhibition of Los Angeles-based artist Hillary Mushkin--a unique collective project that interrogates landscape through drawing. This experimental initiative was generated through on-site public "draw-in" events, ongoing research and publication of related materials. Incendiary Traces contextualizes the work done by this project at six different local militarized zones over the past five years. The book includes an introductory text by Rebecca McGrew, an essay by Susanna Newbury discussing the effect of military technology on visualizing conflict, an essay by Sarah Seekatz on the history of Southern California's date industry and the orientalist fantasies associated with the Coachella Valley desert, and narrative captions by Hillary Mushkin.
Using printmaking, photography and sculpture, San Francisco-based artist Gay Outlaw (born 1959) explores the balance between the organic and the geometric, as well as the relationship of photographic imagery to three-dimensional form. This publication accompanies an exhibition of recent sculpture and photographic assemblage at the Jordan Schnitzer Museum of Art.
The second volume of The World of William Glackens expands the story of American art in the early 20th century. Teresa Carbone highlights a breakout work by Glackens, while Charles Brock shows how alternative exhibitions of American modernists changed the art world. The fertile artistic location of Philadelphia is the backdrop of Judith Barter's essay and Marc Simpson discusses Philadelphia's Thomas Eakins and his affection for Paris. This volume also includes lectures given by Avis Berman, Carol Troyen and Sylvia Yount at a 2014 symposium held at the Barnes Foundation in conjunction with the first major exhibition of Glackens' work in 50 years.