Serge Guilbaut

Looks at the interrelationship between art and history, suggests why New York replaced Paris as the center of modern art, and discusses the ideology of American artists

How New York Stole the Idea of Modern Art

Foreign Artists in Paris, 1944-1968

Lost, Loose and Loved

Laurence Bertrand Dorléac

Laurence Dorleac

"Art of the Defeat offers an unflinching look at the pivotal role art played in France during the German occupation. It begins with Adolf Hitler's staging of the armistice at Rethondes and moves across the dark years - analyzing the official junket by French artists to Germany, the exhibition of Arno Breker's colossi in Paris, the looting of the state museums and Jewish collections, the glorification of Philippe P?tain and a pure national identity, the demonization of modernists and foreigners, and the range of responses by artists and artisans. The sum is a pioneering expos? of the deployment of art and ideology to hold the heart of darkness at bay"--Page 4 of cover.

France 1940-1944

Art of the Defeat

Alexander Nemerov

Celeste Olalquiaga

Sterling and Francine Clark Art Institute

Ernst van Alphen

Mieke Bal

Joanne Morra

Alex Potts

Akira Mizuta Lippit

Marc Gotlieb

Clark Conference

Sina Najafi

Reva Wolf

W. J. Thomas Mitchell

With essays by Ernst van Alphen, Mieke Bal, Marc Gotlieb, Serge Guilbaut, Michael Ann Holly, Akira Mizuta Lippit, W. J. T. Mitchell, Joanne Morra, Sina Najafi, Alexander Nemerov, Celeste Olalquiaga, Alexander Potts, and Reva Wolf The discipline of art history is in a moment of self-consciousness, and art historians are increasingly more self-reflexive about their practices. In this volume, thirteen authors address both the philosophical and practical issues now facing those in the visual arts field by investigating the ever-pressing issue of research. Their essays explore the remarkable nature of art historians' personal, political, aesthetic, creative, and emotive curiosity and the process of doing research in the archive, library, studio, gallery, museum, and beyond. As such, the book considers the pleasures and dangers of researchers' obsessions and encounters with the incoherence, chaos, and wonder that lie at the heart of searching for the not-yet-known. The volume is based on the 2007 Clark Conference of the same name.

Obsession, Archive, Encounter

What is Research in the Visual Arts?

Henri Matisse

Pierre Courthion

In 1941 the Swiss art critic Pierre Courthion interviewed Henri Matisse while the artist was in bed recovering from a serious operation. It was an extensive interview, seen at the time as a vital assessment of Matisse's career and set to be published by Albert Skira's then newly established Swiss press. After months of complicated discussions between Courthion and Matisse, and just weeks before the book was to come out--the artist even had approved the cover design--Matisse suddenly refused its publication. A typescript of the interview now resides in Courthion's papers at the Getty Research Institute. This rich conversation, conducted during the Nazi occupation of France, is published for the first time in this volume, where it appears both in English translation and in the original French version. Matisse unravels memories of his youth and his life as a bohemian student in Gustave Moreau's atelier. He recounts his experience with collectors, including Albert C. Barnes. He discusses fame, writers, musicians, politicians, and, most fascinatingly, his travels. "Chatting with Henri Matisse," introduced by Serge Guilbaut, contains a preface by Claude Duthuit, Matisse's grandson, and essays by Yve-Alain Bois and Laurence Bertrand Dorleac. The book includes unpublished correspondence and other original documents related to Courthion's interview and abounds with details about avant-garde life, tactics, and artistic creativity in the first half of the twentieth century.

The Lost 1941 Interview

Chatting with Henri Matisse

Manuel J. Borja-Villel

Rosario Peiró Carrasco

Compiled by the French historian Serge Guilbaut, Be-Bomb compares and contrasts the art produced in France and the US bewteen 1946-1956 to explore how and why certain works became cultural icons and media images for great commercial success for respective each country. The book analyses the aesthetic debate of the period when New York began replacing Paris as the nerve centre of modern art.

The Transatlantic War of Images and All that Jazz, 1946-1956

Be-bomb

Serge Guilbaut

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