All publications are available for purchase at the UNM Art Museum Book Shelf
Melanie Yazzie: Geographies of Memory
Exhibition catalogue with essays by:
Lisa Tamiris Becker, Director, UNM Art Museum
Lucy R. Lippard
Published by the University of New Mexico Art Museum (2014)
Softcover: 96 pages, 77 color images, smythe-sewn binding
9 x 9 inches
Retail Price: $30 UNM Art Museum Members price : $27
(plus applicable tax and/or shipping and handling)
MELANIE YAZZIE: GEOGRAPHIES OF MEMORY surveys the art of printmaker and sculptor Melanie Yazzie whose compelling works of layered images draw upon her rich Navajo/Diné heritage. Featuring over 80 works created between 1994 and 2013, the catalogue includes examples of the artist’s monotypes, woodblock prints, lithographs, and etchings, along with a body of recent gouache drawings and a never-before-exhibited series of handmade paper pulp prints with photolithographic elements which she created as an artist-in residence at the Brodsky Center for Innovative Editions at Rutgers. Several of the artist’s large-scale steel sculptures and smaller bronze sculptural works are also pictured in the catalogue and reveal the relationship between the artist’s printmaking processes and her approach to three-dimensional work at various scales. Melanie Yazzie was born in 1966, the daughter of Albert A.Yazzie and Bessi B. Yazzie. Her lyrical, layered, and often playful artworks, enigmatically weave together geographic, cultural, and autobiographical images and referents, transporting the viewer into spaces and places of memory and imagination.
DIGITAL LATIN AMERICA
Published by RADIUS BOOKS in collaboration with
516 Arts and the UNM Art Museum
with a preface by Suzanne Sbarge, Executive Director, 516 Arts
followed by two essays published in both English and Spanish including:
Notes on Digital Latin America
by Felipe Cesar Londoño Lopez, Festival Internacional de la Imagen
Universidad de Caldas, Colombia
The Autopoetics of Glitch and Retro Aesthetics
by Lisa Tamiris Becker, Director, UNM Art Museum
Softcover: 76 pages, 20 plus color images, smythe-sewn binding
12 ¼ x 9 ¼ inches
Retail Price: $20 UNM Art Museum Members price: $18
(plus applicable tax and/or shipping and handling)
The Digital Latin America RADIUS Books publication features selected images from Oscar Muñoz: Biografías as well as selected images from the Digital Latin America exhibition at 516 Arts and other partner locations.
A Meticulous Serenity: The Prints of
Clinton Adams, 1948-1997: A Catalogue Raisonné
Foreword by E. Luanne McKinnon
Essay by David Acton
Artist, scholar, writer and educator, Clinton Adams (1918–2002) was recognized as one of the most important influences in the development of fine-art printmaking in America. As a prolific printmaker himself, he was instrumental in establishing the Tamarind Institute and the revival of fine-art lithography. Adams’ style was a mix of traditional representation and modernist abstraction. He had more than thirty solo exhibitions and his works reside collections of major museums throughout the country. This catalogue raisonné accounts for his graphic oeuvre and traces the varieties of techniques and collaborations that make lithography a particularly complex medium.
University of New Mexico Press (2012)
Hardcover: 488 pages, 358 color plates
Retail Price: $80.00 UNM Art Museum Members price: $72.00
The History of Photography
Since its first publication in 1937, this lucid and scholarly chronicle of the history of photography has been hailed as the classic work on the subject. No other book and no other author have managed to relate the aesthetic evolution of the art of photography to its technical innovations with such an absorbing combination of clarity, scholarship and enthusiasm. Through more than 300 works by such master photographers as William Henry Fox Talbot, Timothy O’Sullivan, Julia Margaret Cameron, Eugène Atget, Peter Henry Emerson, Alfred Stieglitz, Paul Strand, Alvin Langdon Coburn, Man Ray, Edward Weston, Dorothea Lange, Walker Evans, Ansel Adams, Brassaï, Henri Cartier-Bresson, Harry Callahan, Minor White, Robert Frank and Diane Arbus, author Beaumont Newhall presents a fascinating, comprehensive study of the significant trends and developments in the medium since the first photographs were made in 1839. New selections added to the fifth edition include photographs made in color, from hand-tinted daguerreotypes of 1850 to turn-of-the-century autochromes by Edward Steichen, to works by contemporary masters such as Eliot Porter, Ernst Haas, William Eggleston, Stephen Shore and Joel Meyerowitz.
The Museum of Modern Art, 2010
Paperback: 320 pages, 287 duotone reproductions
Retail Price: $33.00 UNM Art Museum Members price: $29.70
Van Deren Coke: Scholar as Collector
An Exhibition of Photographs
Preface by Peter Walch, essay by Kathleen Howe
Generously illustrated exhibition catalogue that honors Van Deren Coke’s legacy to the University of New Mexico Art Museum as its founding director in 1962 along with illustrations of some of his most significant gifts to the museum’s photography collection. Reproductions include works by Julia Margaret Cameron, Wm. Henry Fox Talbot, Édouard Baldus, Nadar, Eugene Atget, Alfred Stieglitz, Carelton Watkins, Edward Steichen, Laura Gilpin, Bernice Abbott, Henry Cartier-Bresson, Lee Friedlander, Danny Lyon, August Sander, Charles Sheeler, Walker Evans and Ralph Eugene Meatyard.
University of New Mexico Art Museum
79 pages, 47 plates
Retail Price: $12.00 UNM Art Museum Members price: $11.70
Eva Hesse Spectres 1960
E. Luanne McKinnon, ed.
Essays by Elisabeth Bronfen, Louise S. Milne, Helen Molesworth,
and E. Luanne McKinnon
In 1960 Eva Hesse (1936–70) created an unusual and powerful campaign of oil paintings that, when considered in contrast to her sculptural assemblages from 1965 to 1970, foretell her desire to embody emotional states in abstract form. The paintings comprise two distinct categories. In one, loosely rendered figures are positioned in vacant pictorial spaces that portray an apparent disconnection between one body and another; and the second group imbues a more perplexing psychological state, as characters alternately take on the forms of alien-like creatures or as close resemblances to the artist herself in veritable self-portraits. Through an enlightening assessment of these underappreciated works, readers will gain new insights into their pivotal role in Hesse’s oeuvre.
“Eva Hesse’s early works are not simply a prelude to her later sculpture but an intense investigation of the possibilities of figuration in painting in the early sixties. Spectres offers a brilliant and groundbreaking study of her self-inscription—full of blind eyes, blurrings and doublings—with radical implications for our understanding of Hesse’s entire body of work.”
—Briony Fer, Professor of History of Art, University College London
Yale University Press
88 pages, 30 color illustrations
Retail Price: $30.00 UNM Art Museum Members price: $27.00
Roadcut: The Architecture of Antoine Predock
Christopher Curtis Mead
“The roadcut is a diagram of the investigative process for the making of architecture.”
In 2006, the American Institute of Architects awarded its Gold Medal to Antoine Predock, a New Mexico architect known around the world for having “asserted a personal and place-inspired vision of architecture with such passion that his buildings have been universally embraced.” Rejecting easy stylistic formulas, Predock conceives his buildings as poetic landscapes made from the same collision between land and machine, geologic time and technological change, found in the highway roadcut.
Through ten case studies Mead’s, Roadcut traces Predock’s career over forty years of work, from the regionalism of La Luz, a housing complex in Albuquerque, to the embrace of our common humanity celebrated in Winnipeg’s Canadian Museum for Human Rights. The Rio Grande Nature Center, the American Heritage Center and Art Museum at the University of Wyoming, the Turtle Creek House in Dallas, Austin City Hall, George Pearl Hall at the University of New Mexico, and the Southern Branch of the National Palace Museum in Taiwan document how the architect has held to his formative grounding in New Mexico even as he has responded to the increasingly global scope of his practice.
Christopher Mead is Regents’ Professor of Architecture and Professor of Art History at the University of New Mexico.
University of New Mexico Press
224 pages, 102 illustrations, 140 color photographs
Hardcover: $75.00 ISBN 978-0-8263-5009-1
Cady Wells and Southwestern Modernism
Lois P. Rudnick, ed.
Essays by Robin Farwell Gavin, Sharyn R. Udall, and Lois P. Rudnick
Foreword by E. Luanne McKinnon
Cady Wells (1904-54) was one of the most innovative modern artists working within the artistic milieus of Santa Fe and Taos in the 1930s and ‘40s, if not one of this country’s most accomplished watercolorists in any period. Wells was included in important contemporary watercolor exhibitions, including the Whitney Museum of Art and “Abstract and Surrealist Art” at the Art Institute of Chicago in 1947, both of which were influential in defining the nature of the new American avant-garde. Wells was regularly touted in the media alongside Mark Tobey, Morris Graves, Adolph Gottlieb, and Jackson Pollock as an important representative of this advanced group. This groundbreaking publication restores Wells to his place as a significant figure in modern American abstraction.
“Many books are hyped as a revelation, but this one really is. Working as a cultural historian unprejudiced by art history’s conventional bias toward already famous names, Lois Rudnick has rediscovered a mid-century American artist whose work easily stands comparison with any of his contemporaries.”
— Christopher Reed, author of Bloomsbury Rooms: Modernism, Subculture, and Domesticity
“Cady Wells and Southwestern Modernism recuperates the art and career of this fascinating painter and contributes in significant ways to the growing literature on region and twentieth-century American modernism. Rudnick presents Wells’ southwestern landscapes as inhabiting a queer space expressive of his sexuality and an apocalyptic post-World War II terrain haunted by Los Alamos…”
— Donna M. Cassidy, author of Marsden Hartley: Race, Region, and Nation
Museum of New Mexico Press
160 pages, 74 color illustrations
Hardcover: $39.95 ISBN 978-0-89013-558-7
Tamarind Touchstones: Fabulous at Fifty /
Celebrating Excellence in Fine Art Lithography
Marjorie Devon, ed.
With contributions by E. Luanne McKinnon, Faye Hirsch,
Arif Khan and Bill Lagatutta
In 1960, in an effort to generate interest in fine art lithography and make it accessible to artists, June Wayne founded Tamarind Lithography Workshop, Inc., in Los Angeles and by 1971 its permanent home resided at the University of New Mexico in Albuquerque where it thrives today.
Fifty years and many thousands of prints later, it is difficult to imagine what lithography in the United States would be without the influence of the renowned Tamarind. Showcasing the broad aesthetic capabilities of lithography, Tamarind Touchstones demonstrates the diversity of the artists who have embraced lithography over five decades. In a richly illustrated, full-color publication, artists included are Josef Albers, Elaine de Kooning and Philip Guston from the ‘60s to the recent works of Jim Dine, Ed Ruscha and Kiki Smith, among others.
University of New Mexico Press
216 pages, 138 color reproductions
Hardcover: $55.00 ISBN 978-0-8263-4739-8
Paperback: $29.95 ISBN 978-0-8263-4740-4
Desire For Magic: Patrick Nagatani 1978-2008
Michele M. Penhall, ed.
Essays by Jasmine Alinder, Kirsten Pai Buick, Barbara Hitchcock, Kathleen S. Howe, Ruthie Macha, Maria A. Pelizzari & Michele M. Penhall
This distinctive, beautifully designed monograph by Christopher Kaltenbach, associate with the Tokyo Design studio, is the first publication to survey the major photographic campaigns of photographer Patrick Nagatani (b.1945) created during his long and still unfolding career.
Included are seven essays by distinguished scholars addressing Nagatani’s projects from unique critical perspectives, a comprehensive bibliography and exhibition record, and previously unpublished texts significant to particular series of works. The publication is lavishly illustrated with one hundred twenty-two color plates and five gate folds providing the reader the opportunity to see the breadth and range of Nagatani’s work in color and to see into the elaborately constructed worlds of his imagination.
260 pages, 122 color reproductions
Hardcover: $60.00 ISBN 978-0-944282
To Form From Air:
Music and the Art of Raymond Jonson
with MaLin Wilson-Powell
The American artist Raymond Jonson (1891–1982) was by his 25th birthday an internationally respected figure in the art of theatre design. At the same time, he was just beginning to achieve fame as one of Chicago’s most daring avant-gardists. What tied these two disciplines together and guided Jonson through a labyrinth of theories and practices of modern art was his love and respect for music. The artist’s move to Santa Fe, New Mexico in 1924 saw this development in a series of works dedicated to musical ideas which are explored in two ground-breaking essays about the artist by Robert Ware and MaLin Wilson-Powell. To Form from Air explores the importance of music for Jonson’s development of his version of American nonrepresentational painting, especially as it evolved from the tenets of abstraction begun by Wassily Kandinsky whom he was greatly influenced by as a young man while still in Chicago.
Museums of New Mexico Press
107 pages, 50 color reproductions
Hardcover: $29.95 ISBN 978-089013-571-6
The Art of Raymond Jonson Painter
Forward by Elaine DeKooning
California painter and the youngest member of the Transcendental Painting Group, founded by Jonson and Emil Bisttram in 1938, Ed Garman, writes from forty years‘ intimate knowledge of Jonson, his paintings, and his ideas. Basing his analysis on numerous conversations with Jonson and on extensive research in pertinent journals, letters and records, he traces Jonson’s path as an artist, the complex of growth and change in expression from his student works in the 1910s to his later works in the 1970s. The text is supplemented with over eighty illustrations, a chronology of Jonson’s career, and a list of public collections where his works can be found.
Brilliantly organized to present an extraordinary evocation of Jonson’s life, his philosophy, and his work. A rare and reverent book about a rare and reverent artist.
A classic, in its original shrink-wrap.
University of New Mexico Press
219 pages, color and black and white illustrations
Hardcover: $100.00 ISBN 0-8263-0404-4
Vision and Spirit:
The Transcendental Painting Group
Introduction by Tiska Blankenship
Vision and Spirit accompanied the 1997 exhibition of the same name and is the definitive resource on the theories and work of the ten members of the Transcendental Painting Group (TPG): Emil Bisttram, Robert Gribbroek, Lawren Harris, Raymond Jonson, William Lumpkins, Agnes Pelton, Florence Miller Pierce, Horace Towner Pierce, Stuart Walker, and the catalog’s author Ed Garman. Founded in 1938 by Jonson and Bisttram, the TPG was one of the first chartered associations of American artists dedicated to complete non-objective painting. Although based in New Mexico, the group was international in scope and intention, basing its aesthetics on the work and ideas of Wassily Kandinsky and Piet Mondrian, and on philosophies from Buddhism to American Transcendentalism and Theosophy. The catalog includes biographies and full-color reproductions of selected works by TPG members, as well as information on the noted philosopher, writer, and composer Dane Rudhyar who, though not an official member, was the group’s principal theorist and spokesperson.
This group is not a mere coterie or an accidental association of friends. It hopes to become a focal point for the development of a type of art vitally rooted in the spiritual need of these times…and…aims to stimulate in others through deep and spontaneous emotional experiences of form and color, a more intensive participation in the life of the spirit.
—Dane Rudhyar, from the TPG Statement of Purpose, 1938.
Jonson Gallery of the University of New Mexico Art Museum
71 pages, color and black and white illustrations
Land Art / New Mexico
Introduction by Bill Gilbert and Kathleen Shields
Essays by Lucy Lippard, William L. Fox, Nancy Marie Mithlo
and MaLin Wilson-Powell
The “land art” movement emerged in the 1970s when some adventurous artists departed the New York gallery scene to make art in the open landscapes of the American West. Some of the most famous examples include Robert Smithson’s Spiral Jetty, James Turrell’s Roden Crater, and Walter De Maria’s The Lightning Field. Since then, the land art genre has been subsumed under the more general term “environmental art,” which has broadened to include the global community, microscopic worlds, cyber space and suburban sprawl, as well as wilderness and the urban environment.
In the summer and fall of 2009 a group of New Mexico arts organizations joined together to present LAND/ART, a large-scale collaboration, which explored the relationship between land, art, and community through exhibitions, site-specific art works, lectures, and performances. Focusing on “environmental” or “land” art, the collaborationoffered new or previously unconsidered understandings of the places in which we dwell. This book is the culmination and documentation of this six-month project, and features the work of over forty artists including Michael Berman, Erika Blumenfeld, David Taylor, Basia Irland, Patrick Dougherty, Catalina Delgado Trunk, and Shelley Niro.
170 pages, 110 four-color illustrations
Hardcover $45.00 ISBN 978-1-934435-17-5
University of New Mexico Art Museum:
Highlights of the Collection
Selected important and master works from the museum’s permanent collection of prints, photographs, sculpture, early modern art from Europe and the United States, mid-century work including Raymond Jonson’s transcendental paintings, and later twentieth-century art, annotated by Peter Walch, former long-time director of the UNM Art Museum.
University of New Mexico Art Museum
160 pages, black and white and color illustrations
Hardcover: $29.95 ISBN 0-944282-22-9
Paperback $19.95 ISBN 0-944282-22-9