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Periscope Publishing Spring 2010 Catalogue 4


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Hidden Frames: Stills from the Films of Andy Warhol

Italian Furniture at the Isabella Stewart Gardner Museum A Catalogue and History

Co-published with The Andy Warhol Museum, Pittsburgh, PA Geralyn Huxley , Greg Pierce

Fausto Calderai with Alan Chong

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Gothic Art in the Gilded Age: Medieval and Renaissance Treasures in the Gavet-Vanderbilt-Ringling Collection

Aesthetic of the Cool: Afro-Atlantic Art and Music Robert Farris Thompson

Virginia Brilliant, Contributing Editor

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A Museum of One’s Own Pirvate Collecting, Public Gift

A Matter of Class John Cotton Dana, Progressive Reform, and the Newark Museum

Anne Higonnet

Carol G. Duncan

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Colossal: Engineering Modernity Suez Canal Statue of Liberty Eiffel Tower Panama Cana

Building Iran: Modernish, Architecture, and National Heritage under the Pahlavi Monarchs

Darcy Grigsby

Talinn Grigor

Hidden Frames: Stills from the Films of Andy Warhol Co-published with The Andy Warhol Museum, Pittsburgh, PA Geralyn Huxley, Greg Pierce Hidden Frames offers a rare opportunity to experience Warhol’s work in film, most of which remains unknown even to Warhol initiates. The stills selected for this book reveal the richness of Warhol’s image composition and give access to the often complicated but sometimes austere mise-en-scene of his films. The stills also highlight the most important aspect of Warhol’s art—his drive to depict the people around him through portraiture in all media. He filmed hundreds of individuals, famous and ordinary alike. Hidden Frames provides the opportunity Warhol offered when he projected his films in slow-motion: enhanced contemplation of the human countenance. Hidden Frames includes stills from renowned films such as Empire as well as less-seen films including Hedy and newlyrestored films not seen since the 1960s, among them, Face and The Velvet Underground in Boston. Essays by Geralyn Huxley and Greg Pierce introduce the films and provide a context for understanding the significance of the stills.

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Hidden Frames is the first in a series of publications on the films in the collection of The Andy Warhol Museum. The Complete Chelsea Girls will appear in fall 2010 Geralyn Huxley is Curator of Film and Video, The Andy Warhol Museum, Pittsburgh, PA Greg Pierce is Assistant Curator of Film and Video, The Andy Warhol Museum, Pittsburgh, PA April 2010 cloth US $40 12 x 10 in. 128 pages 150 ills ISBN 978-934772-28-7


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Italian Furniture at the Isabella Stewart Gardner Museum A Catalogue and History Fausto Calderai with Alan Chong

Italian Furniture at the Isabella Stewart Gardner Museum A Catalogue and History

Gothic Art in the Gilded Age: Medieval and Renaissance Treasures in the Gavet-Vanderbilt-Ringling Collection

Fausto Calderai with Alan Chong

Contributing editor Virginia Brilliant

The Gardner Museum is famous for its collection of masterpiece paintings. Why is it publishing a book on furniture? Certainly the paintings are well-known – and well published. The Italian furniture is an undiscovered treasure. Even furniture experts tend to overlook Italian furniture. The collection ranges from Renaissance wedding chests and inlaid credenze, to Rococo Venetian pieces of the 18th century, which were often painted and varnished. How did the pieces of Italian furniture come to be in the museum? Isabella Gardner amassed perhaps the largest collection of the type in the United States, and hers is one of the first museums to include a large quantity of Italian furniture. She had several advisors for her acquisitions of paintings and sculptures (most famously, Bernard Berenson), but she bought her furniture entirely on her own.

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period, not consigned to separate museum wings of the “decorative arts.” Isabella Gardner certainly recognized this. How does this book differ from previous publications on Italian furniture? Very little has appeared in English on Italian furniture. We are treating some of the general characteristics of Italian furniture. We also make observations about woods, construction techniques, coatings, and paint, which differ significantly from furniture of other countries. Even when Italian makers borrowed forms and styles from France, for example, the methods and techniques of manufacture remain entirely distinctive.

The Gardner commissioned new photographs of the furniture for reproduction in this book. Why? The photography and the design of this book required special work. Gardner placed her works of art in unique installations and arrangements. We show how furniture was used Some of the objects are of extremely high quality, and in the various rooms of the museum, how Gardner arranged deserve the careful study and attention they are being given pieces to construct narratives. These room views are crucial in this catalogue. The museum conservation department has to establishing the context of individual pieces. The new studied the techniques and materials of the pieces – findings photographs also focus on individual objects to reveal that will also be published. characteristic forms and styles. As much as possible, we are using natural light in the museum galleries. And we want to Does furniture have anything like the historical significance avoid the “cut-out” effect often found in books which shown we ascribe to paintings or sculpture? pieces of furniture starkly silhouetted against a white or Long overlooked, furniture played a critical role in the black background. All this required a new photographic function and decoration of Italian interiors from the 15th campaign. century to the early 19th century. We argue that Italian furniture uniquely combines several arts: architecture, May 2010 cloth $50 sculpture, and painting. 10 x 12 inches 288 pages 224 illustrations ISBN 978-1-934772-29-4 Knowledgeable collectors knew that painting and sculpture could be successfully displayed with furniture of the same

Paintings of ruined cathedrals, tales of horror, and nationalist claims to medieval origins for language, law, and cultural patrimony--these mark the beginning of the re-invention of the Gothic that was to become key to the Romantic Movement of the early 19th century. By contrast, t in the U.S., it was only after the Civil War, the spread of Ruskin’s teachings, and the emergence of Gilded Age wealth that art collectors developed a taste and an interpretation for artefacts previously consigned to a Dark Age of blind faith and alien codes of representation. In this highly original book, a team of international experts trace the history of the first sizable collection of Gothic art brought from Paris to the U.S. Though it first belonged to Alva Vanderbilt (the Commodore’s daughter-in-law), it was sold to John Ringling in 1927 and is now part of the Ringling Museum. The essays explain why early Italian paintings, including a masterpiece by Piero di Cosimo, could be regarded as Gothic rather than as Renaissance and show how 19th-century installations of the objects enveloped them in an atmosphere of mystery and ancient privilege. of mystery a wealth and privilege. A catalogue with color illustrations of every object in the collection makes this book indispensable to Museum visitors as well as to scholars of medieval art, medieval revivals, and the history of collecting.

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Contributing editor Virginia Brilliant Dec 2009 cloth $40 9.37 x 11.37 in. 232 pages 198 illustrations ISBN 978-0-916758-56-1


A n n e Hi g o n n et

Anne Higonnet B ! Mu s e u m o f On e’s O w n | Pr i va t e C o l l e c t i n g , Pu b l i c Gi f t

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Aesthetic of the Cool: Afro-Atlantic Art and Music Robert Farris Thompson

A Museum of One’s Own Private Collecting, Public Gift Anne Higonnet

Yale professor Robert Farris Thompson is a living legend. He started writing about the African heritage in the arts of the Americas when no one recognized the continuities, when African-American studies did not exist, and the Civil Rights Movement still met with violent opposition. This book presents the best of Thompson’s essays on Afro-Atlantic art from 1963-2006. Brought together for the first time in this publication, they offer an incomparable guide to Afro-Atlantic culture from the mambo to James Hampton’s glittering Throne of the Third Heaven. One riveting piece on David Hammons, a leading figure in contemporary art, appears here for the first time. Among a staggering array of topics, other essays shine new light on Haitian bus painting; Jean-Michel Basquiat’s love of jazz; hip-hop, Betye Saar and vodun; Keith Haring the Dancer; and the ethos transmitted in the aesthetic of the “cool.” Many of the color illustrations reproduce Thompson’s own photographs of dance, altars, and lost masterpieces of yard shows. Two long interviews give insight into Thompson’s work as a founder of Afro-Atlantic studies.

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Aesthetic of the cool is a deeply and complexly motivated, consciously artistic interweaving of elements serious and pleasurable, of responsibility and of play. It concentrates upon matters of social balance and aesthetic substance, creative matters, full of motion and brillance. Robert Farris Thompson

March 2010 cloth US $40 Can $43.95 £20 ½34.95 8.5 x 10 in. / 21.59 x 25.40 cm 256 pages 189 illustrations ISBN 978-1-934772-95-9

When French revolutionaries sacked royal palaces at the end of 18th century, they began to largest transfer of artistic goods in world history. By 1850 many treasures had been relocated in a new institution, the public art museum, where they were assigned educational tasks. Anne Higonnet’s book begins at this turning point in the history of art, but it looks at another type of repository for art, , the collection museum. Emerging in London with the Wallace Collection, the collection museum spread rapidly in Gilded Age America. To the discontent of many Europeans, cash-flush tycoons like J.P. Morgan and Henry Clay Frick went on collecting sprees that netted masterpiece after masterpiece, along with the furniture and fittings of dozens of aristocratic residences. From the outset, these collectors planned to present their trophies to the public in museums in which they dictated each and every detail of the arrangements. Drawing on a decade of research, Higonnet weaves letters, auction records, and photographs into an engrossing account of the founding of both famous and obscure collection museums. She also explores how these collectors stocked the soaring values that began to be accorded paintings by artists from Raphael to Rembrandt and Reynolds.

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Anne Higonnet is Professor of Art History, Barnard College. Jan 2010 cloth US $49.95 Can $54.95 £24.95 ½49.95 9 x 10 in. / 23 x 25 cm 243 pages 197 illustrations ISBN 978-1-934552-92-8


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Colossal: Engineering Modernity Suez Canal Statue of Liberty Eiffel Tower Panama Canal Darcy Grimaldo Grigsby

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A Matter of Class: John Cotton Dana, Progressive Reform, and the Newark Museum

Colossal: Engineering Modernity Suez Canal Statue of Liberty Eiffel Tower Panama Canal

Carol G. Duncan

Darcy Grimaldo Grigsby

Why have you, an art historian known for pioneering study of the history of museums, chosen to write about the librarian John Cotton Dana? Dana had a double career. First he became a major force in the modernization of the American public library, and then, in the 1910s and 20s, he became an innovative museum director. In his own day, he was famous in both guises. My book looks at Dana’s important work as a librarian, but the emphasis is on Dana’s museum work. Why is your book entitled A Matter of Class instead of the obvious John Cotton Dana? Dana is certainly the protagonist of the story I tell. The subtitle makes clear that he is the central figure. But the book isn’t a biography in the usual sense. My aim has been to understand Dana accomplishments in the context of his times. Dana embarked on his museum career in the Progressive Era, and his goals were similar to those of other reformers of the time, most notably the philosopher John Dewey and the social reformer Jane Addams. This generation of reformers struggled to create modern democratic institutions—schools, museums and libraries—in a world marked by sharp and sometimes violent class conflict and ethnic and racial tensions. At the same time, the commercial and industrial tycoons who funded art museums regarded them as a means of securing an upper-class social identity. Dana needed the support of these men, but he opposed their idea of an art museum. So class matters play a central role in the book and I wanted the title to reflect that.

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How much did Dana achieve in the Newark Museum? Much of the book tries to answer that question. Dana wanted to create a museum that would speak to the working people of his city. Although he had to compromise some of his idealism, he figured out how to bring people—young and old, native and foreign born—into his museum and make them feel at home. He gave the world an alternative museum model— he called it “a museum with brains.” Instead of the hushed gloom of conventional art museums with their displays of rare and costly treasures, his museum showed people the aesthetic possibilities of the everyday world. He filled his galleries with modern, mass produced objects—comic books, bathtubs, pots and pans. And he featured painting, sculpture, prints and photographs that were affordable and made, not by dead Europeans, but by living local artists. How pertinent is his achievement to contemporary concerns? His writings about museums are still wonderfully fresh, insightful and witty, and many of his criticisms of Gilded Age museums are applicable to today’s museums, especially his comments about expensive, showy museum buildings. More broadly, Dana’s commitment to democratic values and his fierce defense of free speech and open inquiry are as relevant today as ever they were in the past. January 2010 cloth US $40 Can $43.95 £20 ½39.95 9 x 11.25 in. 234 pages 84 illustrations ISBN 978-1-934772-91-1

Why does your book treat not just the Statue of Liberty—but also the Eiffel Tower, the Suez Canal, and the Panama Canal? Colossal shows that the stories of all four are deeply interconnected. For example, Bartholdi initially designed the Statue of Liberty to stand at the entrance of the Suez Canal. Gustave Eiffel built the interior armature for the Statue of Liberty and built the Eiffel Tower with money he made as en engineer for the locks of the Panama Canal. Your last book was on 19th-century French painting. What led you so far afield? I am an art historian who adores painting—and painting does figure in the last two chapters of Colossal—but it was motivated by a desire to describe the specific nature of late 19th-century and early 20th-century imperial ambitions. Technology was key as was immense scale. As one engineering draftsman put it, he did not want to draw on paper but on the earth itself. How does your book differ from previous publications on these famous colossi? My book establishes the interrelationship between all four as no other book has. As an art historian I also care about how the protagonists thought about form, line, and scale as well as representation more generally. The French gave the Statue of Liberty to the U.S. In what ways does international politics enter your book? International politics characterize this entire narrative. Colossal focuses primarily on the rivalry between France and

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the United States, but that rivalry consisted not only in the form of towering monuments like the Statue of Liberty and the Eiffel Tower but also in the canals in Egypt and Panama. Key too are the universal exhibitions of 1867 and 1889 in Paris and the Panama-Pacific Exhibition in San Francisco in 1915. Are there heroes in Colossal? There are no heroes, but there certainly are vivid, larger-thanlife men—Teddy Roosevelt, Ferdinand de Lesseps, Gustave Eiffel, Thomas Edison, and Frederic-Auguste Bartholdi, among others. And there are writers—Jules Verne and Villiers de L’Isle-Adam—who tell us much about how the 19th century imagined modernity. Darcy Grimaldo Grigsby is the author of Extremities: Painting Empire in Post-Revolutionary France and Professor of the History of Art and Architecture at the University of California, Berkeley. March 2010, board US $65 Can $81 £45 ½49.95 9.25 x 11.5 in./23.5 x 29.21 cm 288 pages 240 illustrations ISBN 978-1-934772-76-8


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Building Iran: Modernism, Architecture, and National Heritage under the Pahlavi Monarchs Talinn Grigor

Building Iran: Modernish, Architecture, National Heritage, and under the Pahlavi Monarchs Building Iran: Modernism, Architecture, and National Heritage under the Pahlavi Monarchs is a compelling guide to a juncture in Iranian history when foundational issues of national purpose and cultural heritage—secular reform and religious tradition—were being reframed. Architecture of the Pahlavi reign, 1925–79, is the principal subject of discussion, along with the Society for National Heritage, which commissioned numerous buildings and monuments (including mausoleums for Ferdowsi and Omar Khayyam), initiated over sixty preservation projects, and founded the nation’s first archeological museum and its first national library. The broad scope of analysis sheds new light on how and why Iran’s cultural heritage was reinvented and used as a corridor to a progressive and at times utopian modernity; as an ideology for political reforms; and as a platform for claims to a leadership role in international politics. Abundantly illustrated, this book introduces architecture and historical sources that are all but unknown outside specialist circles.

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“Talinn Grigor’s book is a highly original and much needed study of how ideology—especially ethnic and state nationalism—has influenced architecture in modern Iran. It is an invaluable work not only for architectural history but also for the understanding of the Pahlavi era and the intelligentsia in twentieth-century Iran.” Ervand Abrahamian Distinguished Professor, Baruch College Talinn Grigor is Assistant Professor of Fine Arts at Brandeis University. Dec 2009 cloth US $55 Can $67.95 £35 ½45 9 x 12 in. / 22.86 x 30.48 cm, 240 pages, 231 illustrations ISBN 978-1-934772-78-2

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SPRING 2009 BOOKS

FALL 2008 BOOKS

Journeys East: Isabella Stewart Gardner and Asia

Aesthetic of the Cool: Afro-Atlantic Art and Music

Alan Chong & Noriko Murai

Robert Farris Thompson

US $75 Can $93 £50 ½59

US $40 Can $43.95 £20 ½34.95

ISBN 978-1-934772-75-1

ISBN 978-1-934772-95-9

Heights of Fashion: A History of the Elevated Shoe

Colossal: Engineering Modernity Suez Canal Statue of Liberty Eiffel Tower Panama Canal

Elizabeth Semmelhack US $30 Can $32.95 £15 ½19.95

Darcy Grimaldo Grigsby

ISBN 978-1-934772-94-2

US $65 Can $81 £45 ½49.95

A Museum of One’s Own: Private Collecting, Public Gift

ISBN 978-1-934772-76-8

Anne Higonnet US $49.95 Can $54.95 £24.95 ½49.95

The Tuscany of Our Dreams: Mussolini to Agritourism

ISBN 978-1-934772-92-8

D. Medina Lasansky

‘How To Have A Museum With Brains’ John Cotton Dana and the Making of a Democratic Culture for America

US $35 Can $43.75 £25 ½29.95 ISBN 978-1-934772-77-5

Carol Duncan US $40 Can $43.95 £20 ½39.95

The Civil(ized) Nation Cultural Heritage and Modernity in 20th-Century Iran

ISBN 978-1-934772-91-1

Talinn Grigor

The Triumph of Marriage: Painted Cassoni of the Renaissance

US $55 Can $67.95 £35 ½45

Cristelle Baskins

ISBN 978-1-934772-78-2

US $45 Can $48.95 £22.50 ½39.95 ISBN 978-1-934772-86-7

Learning from Harlem, Port-au-Prince, Urobo, Filadelfia, Marcovia, Aranya, Malawi, Gambia, Pretoria

Marks of Identity New Perspectives on Italian Sculpture of the Sixteenth Century

Hansy Better, contributing editor

Dimitrios Zikos

US $35 Can $43.75 £25 ½29.95

US $25 Can $27.50 £12.99 ½24.95

ISBN 978-1-934772-79-9

ISBN 978-1-934772-87-4

The Imaginary Everyday Genre Painting and Prints in Italy and France, 1580–1670

‘The Mysticism of Money’ Precisionist Painting and Machine Age America

Sheila McTighe

Andrew Hemingway

US $65 Can $72.50 £32.50 ½49.95

US $45 Can $55.95 £30 ½39.95

ISBN 978-1-934772-89-8

ISBN 978-1-934772-80-5

Luxury for Export Artistic Exchange between India and Portugal around 1600

Midnight, The Tempest Essays

Pedro Moura Carvalho

Molly Nesbit

US $25 Can $27.50 £12.99 ½19.95

US $30 Can $37.50 £19.99 ½24.95

ISBN 978-1-934772-96-6

ISBN 978-1-934772-81-2

Desperate Necessity Writings on Art and Creativity in Psychoanalytic Theory Eugene Glynn US $20 Can $22 £10 ½19.95 ISBN 978-1-934772-88-1

The Chadwick Family Papers Jimbo Blachly & Lytle Shaw US $35 Can $38.95 £17.50 ½29.95 ISBN 978-1-934772-90-4

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Photo Credits: Lasansky: Horacio Villalobos/CORBIS; Nik Wheeler/CORBIS Smith: Erich Lessing/Art Resource, NY; John Springer Collection/ CORBIS Humphrey: Courtesy of the Artists Mediterranean: Isabella Stewart Gardner Museum Wang: Isabella Stewart Gardner Museum

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Periscope Publishing, Ltd.

150 West Hutchinson Avenue, Cottage Pittsburgh, Pennsylvania 15218 www.periscopepublishing.com

Our logo derives from an Ejagham pictograph. It refers to speech that bridges difference, and, more broadly, to the word.

Founded in 2007, Periscope is a full-service publisher of books about art & architecture as understood & practiced in contemporary society. For books of this 21st-century sort, history is never over or finished or entirely just. It is the prime business of today. To do this work, our books adopt the perspectives implied by our name, Periscope. A periscope uses mirrors to bend and extend human vision. Johannes Gutenberg, father of the printed book, invented the device for 15th-century pilgrims. Periscopes in hand, they could see the wonders of the world close-up and in detail. Periscope books are likewise instruments of exploration and scrutiny. They breach the distance separating the person from the monument, from the orthodox. Periscope publishes books on the visual culture of all periods in history and all areas of the globe. We partner with museums. We commission books on neglected issues. We promote artists, writers, and scholars with talent and nerve and a story worth telling. Gloria Kury, Director

ISBN 978-1-934772-27-0


Periscope Spring 2010 Catalog  

Periscope Publishing Spring 2010 Catalogue 4

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