Contributions by Marie Watkins, Sarah E. Boehme, Kelin Michael and Karen B. McWhorter
This volume marks a fresh inspection of who Sharp was, how and where he was trained as a painter, why he selected the nation’s western Native population as a primary subject, what impact his imagery had on audiences across the continent and how his production as a painter of what he referred to as the “real Americans” differed from that of his contemporary peers.
Leon Shulman Gaspard (1882–1964) was an interesting addition to the New Mexico arts scene when he arrived in 1918. A Russian-born, French-trained veteran of the airborne campaigns of the Great War, he arrived physically diminished from a horrific plane crash that had put him in a French hospital for two years. Seeking a more hospitable climate, he arrived in Taos to find a vibrant arts community and an exotic blend of native, western and Hispanic cultures.
Featuring nearly one hundred full-color reproductions of McVicker’s works, Centering Modernism showcases the extraordinary range of his artistry. As the first comprehensive survey of McVicker’s career and oeuvre, this volume is also the story of American modernism in all its diversity.
Contributions by Arthur Amiotte, Emily C. Burns, Dan Flores, Laura F. Fry, Karen B. McWhorter and Melissa W. Speidel
Along with its rich sampling of Bierstadt’s diverse artwork, Albert Bierstadt: Witness to a Changing West features informative essays by noted curators, scholars of art history, and historians of the American West.
Contributions by Stephen J. Bodio, Margaret C. Adler, Kory W. Rogers, Shirley Reece-Hughes and Adam M. Thomas
In their depictions of the hunt or the catch, American artists connected a dynamic and developing nation to its past and its future. Through the examination of major works of art, Wild Spaces, Open Seasons brings to light an often-overlooked theme in American painting and sculpture.
Portraits of the Land That Became Oklahoma, 1819–1907
Edited by B. Byron Price
Foreword by John R. Lovett
Contributions by James Peck and Mark Andrew White
Some of the artworks featured in this volume have never before been displayed; some were produced by more than one artist; others are anonymous. Many were completed by illustrators on-site, as the events they depicted unfolded, while other artists relied on written accounts and vivid imaginations. Whatever their origin, these depictions of the people, places, and events of “Indian Country” defined the region for contemporary American and European audiences. Today they provide a rich visual record of a key era of western and Oklahoma history—and of the ways that art has defined this important cultural crossroads.
The first national park in the world, from the moment of its inception in 1872 Yellowstone National Park has been perceived as a vast visual spectacle. By the 1890s it was known as “the Nation’s Art Gallery.” Peter Hassrick traces the artistic history of the park from its earliest explorers to the present day in this new edition of Drawn to Yellowstone, a richly illustrated account of the artists who traveled to and were inspired by Yellowstone.
by Anne Allbright, Janet Catherine Berlo and Mark Andrew White
Oscar Brousse Jacobson (1882–1966) was a prolific artist who devoted much of his career to the depiction of the wilderness of the American West, especially Arizona, Colorado, New Mexico,...
Allan Houser Drawings: The Centennial Exhibition offers a critical examination of Houser’s career as a draughtsman, from his early career to the rich body of work he produced late in life.
Edited by Jennifer Complo McNutt and Ashley Holland
Foreword by John Vanausdall
RED, the eighth iteration of the Eiteljorg Museum’s acclaimed biennial art series, documents the strength, drama, determination, and humor of contemporary Native art and the artists who create it. Celebrating the work of Featured Artist Lawrence Paul Yuxweluptun (Coast Salish) and Eiteljorg Fellows Julie Buffalohead (Ponca Tribe of Oklahoma), Nicholas Galanin (Tlingit/Aleut), Shan Goshorn (Eastern Band of Cherokee), and Meryl McMaster (Plains Cree/Blackfoot), RED declares that any person who lives with the idea that Native people are vanishing, weak, or failing to thrive needs simply to look at their art.
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