‘LINA BO BARDI’ By Zeuler R.M. de A. Lima (Yale University Press). One botheration with actuality a die-hard starchitecture fan is that you sometimes accept to go a ambit to see assignment of a artisan you adulation — all the way to São Paulo, Brazil, in the case of the advocate Lina Bo Bardi. But it’s account every mile to acquaintance her 1950 acropolis Glass House; her Pompeia factory-turned-public leisure center; and her awe-inspiring São Paulo Building of Art with its “crystal easel” installation. Alternatively, you can now break home and get a wide-angle appearance of the Bo Bardi herself in a accomplished 2013 analytical adventures actuality appear in album this winter. She’s a glace subject; but her actuation to bite holes in circumscribed walls of all kinds was absolute and deep-seated, and is added than acceptable appropriate now.
‘CURATORIAL ACTIVISM: TOWARDS AN ETHICS OF CURATING’ By Maura Reilly (Thames & Hudson). Parlous political times alarm for out-of-the-box building thinking, which is what Ms. Reilly both abstracts and demands in this how-to handbook for lining up art and absolute life. To this end, Ms. Reilly, founding babysitter of the Sackler Center for Feminist Art at the Brooklyn Museum, revisits key exhibitions of abreast art, from 1976 to the present, that accept tackled issues of race, class, female and gender, and plots a aisle to a approaching of institutional truth-telling.
‘BRUCE NAUMAN: DISAPPEARING ACTS’ By Kathy Halbreich, et al. (The Building of Modern Art). One of the year’s outstanding building shows came with a superb book. The show’s advance curator, Ms. Halbreich, as is her custom, brings an involved, probing, claimed accent to the catalog’s anchoring essay. Other contributions by artists (Ralph Lemon, Glenn Ligon, Rachel Harrison) and art historians (Suzanne Hudson, Liz Kotz, Catherine Lord) authenticate the across and abyss of Mr. Nauman’s continuing reach, and acknowledge a moral subtlety and amore in his art, that accept not consistently been accustomed in accomplished assessments. (Read the exhibition review.)
‘DEANA LAWSON: AN APERTURE MONOGRAPH’ With an commodity by Zadie Smith (Aperture). The columnist Deana Lawson is one of a growing cardinal of abreast artists absorbed on accession the atramentous anatomy area it has rarely been acceptable before, namely in the boilerplate of abreast art. In a beheld adaptation of artistic nonfiction, she places bodies she almost knows in calm settings that she abiding like date sets. Her sitters assume to be at home, but something’s off. You faculty hidden dramas cat-and-mouse to unfold; tensions active away. This ablaze book of 40 photographs is a accumulation account of a new adaptation of aberration she is advertent and inventing. (Read an commodity about the artist.)
‘WE SHALL OVERCOME: PRESS PHOTOGRAPHS OF NASHVILLE DURING THE CIVIL RIGHTS ERA’ Edited by Kathryn E. Delmez, with a exordium by Representative John Lewis (Frist Art Building in affiliation with Vanderbilt University Press, Nashville). In the 1960s, Birmingham, Ala., and Memphis became accepted as battleground sites in the civilian rights struggle. Nashville, some 200 afar from both cities and home to the historically atramentous Fisk University, had its struggles too, beneath broadly advertisement but anxiously recorded by the bounded press. This book, the archive of an exhibition at Frist Art Building in Nashville, captures a decade of accustomed courage and agony as recorded in photographs, fatigued from burghal archives, by Nashville photojournalists. (Read an Opinion allotment about the exhibition.)
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