Art

A veteran landscape painter and self-described artist-naturalist, Paris translates how Lennox Woods looks and how it feels, re-creating its live, three-dimensional environment on the two-dimensional picture plane.

The promotion of classicism in the visual arts in late eighteenth and nineteenth-century Latin America and the need to “revive” buen gusto (good taste) are the themes of this collection of essays.

Collected here are the most striking paintings from Melinda Miles' signature collections: portraiture, a series of interiors, a major body of still life that she was best known for, and a late series of train imagery that became a summation of her life’s work.

This richly illustrated book of the history, culture, and art of Easter Island is the first to examine in detail the island’s vernacular architecture, often overshadowed by its giant stone statues.

The first full-length critical analysis of the paintings of Jaune Quick-to-See Smith, this book focuses on Smith’s role as a modernist in addition to her status as a wellknown Native American artist. With close readings of Smith’s work, Carolyn Kastner shows how Smith simultaneously contributes to and critiques American art and its history.

In this book, the first to showcase her work, Evelyn Rosenberg describes the history and genesis of Detonography and explains from conception to installation how a piece of explosive art is made.

In Art of the National Parks, seventy painters and sculptors offer distinctive visions of eight of the nation’s most beloved wild lands: Acadia, Everglades, Grand Canyon, Grand Tetons, Rocky Mountain, Yellowstone, Yosemite, and Zion.

Page by page, this book takes us on a journey through the built world that ranges from Greece to Guatemala and from New York to San Francisco. Tedlock practices what he calls photowriting, a creative process that brings photographer and writer together in the same person.

Dark Light is the first book on the ceramics of the great Navajo ceramist Christine Nofchissey McHorse and features her award-winning sculptural black series begun in 1998.

In 1973 Georgia O’Keeffe employed C. S. Merrill to catalog her library for her estate. Merrill, a poet who was a graduate student at the University of New Mexico, was twenty-six years old and O’Keeffe was eighty-five, almost blind, but still painting. Over seven years, Merrill was called upon for secretarial assistance, cooking, and personal care for the artist. Merrill’s journals reveal details of the daily life of a genius.