Sudpsuez Knowing the West: Visual Legacies of the American West
$75.00
Description
Edited by Mindy N. Besaw and Jami C. Powell
This expansive survey of the art and culture of the American West presents richly diverse works by more than 35 distinct Native American nations considered alongside non-Native artists from the late eighteenth to early twentieth centuries.
Knowing the West encourages deeper consideration of the variety of cultures that together reflect the complex histories and stories of the American West. Astonishing in range, historical significance, medium, and quality, more than 120 artworks by Native American and non-Native artists are presented—including textiles, baskets, paintings, pottery, beadwork, saddles, and prints—including many by women.
The artworks are shown in meaningful dialogue, such as baskets by Elizabeth Hickox (Wiyot/Karuk) juxtaposed with a large-scale California landscape by Albert Bierstadt, or New Mexican tinwork in conversation with a beaded valise by Nellie Two Bear Gates (Dakota), emphasizing influence and exchange and pointing out different ways of thinking about land and place. Multiple texts by a diverse range of scholars with broad-reaching perspectives explore topics such as history and making of Lakota winter counts, the development of saddles and bridles from across cultures, and the influence of the railroad and tourism on Southwestern pottery. This unprecedented volume centers Native voices and perspectives, prompting further thinking and research about the art history of the West.
Published by Rizzoli
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Sudpsuez A Mechanical Bestiary: Automaton Clocks from the Renaissance by Alexis Kugel
Words by Alexis Kugel
This exhibition, Galerie Kugel’s tenth, continues the tradition of seeking out little-known but fascinating fields in the art world. Renaissance automaton clocks have never been the subject of scientific study, authors of horological reference works devoting at best merely a chapter to them.
These automaton clocks date from 1580 to 1630 and were for the most part created in Augsburg, the main German artistic centre of the time. These wonderful objects combine the arts of sculpture and horology. Rivalling in fantasy and ingenuity, they fascinated the European courts. Today, they can be found in museums holding great princely collections in Vienna, Dresden, Munich. Automaton clocks were also used as diplomatic presents.
The thirty-one automaton clocks presented in this exhibition and book are the largest group ever displayed. While studying them we have made surprising discoveries. For example, the troubling similarities between some of the most extraordinary anonymous clocks displayed here: the Elephant (cat. 3), the large Pacing Lion and his Tamer (cat. 7), the large Seated Lion (cat. 9), and the Chariot of Bacchus (cat. 11), which strongly argue for their having been produced in the same workshop. Among all the clocks published in this book, only one comes from Nuremberg (cat. 21). The chronological presentation that we chose also led us to rethink the conventional dating of certain pieces.
The title “Mechanical Bestiary” is somewhat restrictive, for among the clocks presented here, a quarter represent human figures without animals, and certain pieces possess no mechanical movements. Yet the thirty-one pieces assembled here clearly form a homogeneous and coherent whole. All were created for the same reason: to amuse and delight the collectors of their time.
Sudpsuez Magazine Subscription
Magazine is a biannual publication, publishing each April and October. This subscription auto-renews with each issue launch.
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