Periscope Publishing Spring 2010 Catalogue 4

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2Hidden Frames: Stills from the Films of

Andy Warhol

Co-published with The Andy Warhol Museum, Pittsburgh, PA

Geralyn Huxley , Greg Pierce

3Italian Furniture at the Isabella Stewart

Gardner MuseumA Catalogue and History

Fausto Calderai with Alan Chong

5Aesthetic of the Cool:

Afro-Atlantic Art and Music

Robert Farris Thompson

6A Museum of One’s Own

Pirvate Collecting, Public Gift

Anne Higonnet

8Colossal: Engineering Modernity

Suez Canal Statue of Liberty Eiffel Tower Panama Cana

Darcy Grigsby

9Building Iran: Modernish, Architecture,

and National Heritage under the Pahlavi Monarchs

Talinn Grigor

7A Matter of Class

John Cotton Dana, Progressive Reform, and the Newark Museum

Carol G. Duncan

4Gothic Art in the Gilded Age: Medieval

and Renaissance Treasures in the Gavet-Vanderbilt-Ringling Collection

Virginia Brilliant, Contributing Editor

Hidden Frames: Stills from the Films of Andy WarholCo-published with The Andy Warhol Museum, Pittsburgh, PAGeralyn Huxley, Greg Pierce

Hidden Frames offers a rare opportunity to experience Warhol’s work in film, most of which remains unknown even to Warhol initiates. The stills selected for this book reveal the richness of Warhol’s image composition and give access to the often complicated but sometimes austere mise-en-scene of his films.

The stills also highlight the most important aspect of Warhol’s art—his drive to depict the people around him through portraiture in all media. He filmed hundreds of individuals, famous and ordinary alike. Hidden Frames provides the opportunity Warhol offered when he projected his films in slow-motion: enhanced contemplation of the human countenance.

Hidden Frames includes stills from renowned films such as Empire as well as less-seen films including Hedy and newly-restored films not seen since the 1960s, among them, Face and The Velvet Underground in Boston. Essays by Geralyn Huxley and Greg Pierce introduce the films and provide a con-text for understanding the significance of the stills.

Hidden Frames is the first in a series of publications on the films in the collection of The Andy Warhol Museum. The Complete Chelsea Girls will appear in fall 2010

Geralyn Huxley is Curator of Film and Video, The Andy Warhol Museum, Pittsburgh, PAGreg Pierce is Assistant Curator of Film and Video, The Andy Warhol Museum, Pittsburgh, PA

April 2010 cloth US $40 12 x 10 in. 128 pages 150 ills ISBN 978-934772-28-7

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Gothic Art in the Gilded Age: Medieval and Renaissance Treasures in the Gavet-Vanderbilt-Ringling CollectionContributing editor Virginia Brilliant

Italian Furniture at the Isabella Stewart Gardner MuseumA Catalogue and HistoryFausto Calderai with Alan Chong

Paintings of ruined cathedrals, tales of horror, and nationalist claims to medieval origins for language, law, and cultural patrimony--these mark the beginning of the re-invention of the Gothic that was to become key to the Romantic Movement of the early 19th century. By contrast, t in the U.S., it was only after the Civil War, the spread of Ruskin’s teach-ings, and the emergence of Gilded Age wealth that art collec-tors developed a taste and an interpretation for artefacts previously consigned to a Dark Age of blind faith and alien codes of representation. In this highly original book, a team of international experts trace the history of the first sizable collection of Gothic art brought from Paris to the U.S. Though it first belonged to Alva Vanderbilt (the Commodore’s daughter-in-law), it was sold to John Ringling in 1927 and is now part of the Ringling Museum. The essays explain why early Italian paintings, including a masterpiece by Piero di Cosimo, could be regarded as Gothic rather than as Renaissance and show how 19th-century installations of the objects enveloped them in an atmosphere of mystery and ancient privilege. of mystery a wealth and privilege. A cata-logue with color illustrations of every object in the collection makes this book indispensable to Museum visitors as well as to scholars of medieval art, medieval revivals, and the history of collecting.

Contributing editor Virginia Brilliant

Dec 2009 cloth $409.37 x 11.37 in. 232 pages 198 illustrationsISBN 978-0-916758-56-1

The Gardner Museum is famous for its collection of master-piece paintings. Why is it publishing a book on furniture? Certainly the paintings are well-known – and well published. The Italian furniture is an undiscovered treasure. Even furni-ture experts tend to overlook Italian furniture. The collection ranges from Renaissance wedding chests and inlaid credenze, to Rococo Venetian pieces of the 18th century, which were often painted and varnished.

How did the pieces of Italian furniture come to be in the museum?Isabella Gardner amassed perhaps the largest collection of the type in the United States, and hers is one of the first museums to include a large quantity of Italian furniture. She had several advisors for her acquisitions of paintings and sculptures (most famously, Bernard Berenson), but she bought her furniture entirely on her own.

Some of the objects are of extremely high quality, and deserve the careful study and attention they are being given in this catalogue. The museum conservation department has studied the techniques and materials of the pieces – findings that will also be published.

Does furniture have anything like the historical significance we ascribe to paintings or sculpture?Long overlooked, furniture played a critical role in the function and decoration of Italian interiors from the 15th century to the early 19th century. We argue that Italian furniture uniquely combines several arts: architecture, sculpture, and painting.

Knowledgeable collectors knew that painting and sculpture could be successfully displayed with furniture of the same

period, not consigned to separate museum wings of the “decorative arts.” Isabella Gardner certainly recognized this.

How does this book differ from previous publications on Italian furniture?Very little has appeared in English on Italian furniture. We are treating some of the general characteristics of Italian furniture. We also make observations about woods, con-struction techniques, coatings, and paint, which differ sig-nificantly from furniture of other countries. Even when Italian makers borrowed forms and styles from France, for example, the methods and techniques of manufacture remain entirely distinctive.

The Gardner commissioned new photographs of the furni-ture for reproduction in this book. Why?The photography and the design of this book required spe-cial work. Gardner placed her works of art in unique installa-tions and arrangements. We show how furniture was used in the various rooms of the museum, how Gardner arranged pieces to construct narratives. These room views are crucial to establishing the context of individual pieces. The new photographs also focus on individual objects to reveal characteristic forms and styles. As much as possible, we are using natural light in the museum galleries. And we want to avoid the “cut-out” effect often found in books which shown pieces of furniture starkly silhouetted against a white or black background. All this required a new photographic campaign.

May 2010 cloth $50 10 x 12 inches 288 pages 224 illustrationsISBN 978-1-934772-29-4

Italian Furniture at the Isabella Stewart Gardner MuseumA Catalogue and History Fausto Calderai with Alan Chong

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A Museum of One’s OwnPrivate Collecting, Public GiftAnne Higonnet

Aesthetic of the Cool: Afro-Atlantic Art and Music Robert Farris Thompson

When French revolutionaries sacked royal palaces at the end of 18th century, they began to largest transfer of artistic goods in world history. By 1850 many treasures had been relocated in a new institution, the public art museum, where they were assigned educational tasks. Anne Higonnet’s book begins at this turning point in the history of art, but it looks at another type of repository for art, , the collection museum. Emerging in London with the Wallace Collection, the collec-tion museum spread rapidly in Gilded Age America. To the discontent of many Europeans, cash-flush tycoons like J.P. Morgan and Henry Clay Frick went on collecting sprees that netted masterpiece after masterpiece, along with the furni-ture and fittings of dozens of aristocratic residences. From the outset, these collectors planned to present their trophies to the public in museums in which they dictated each and every detail of the arrangements. Drawing on a decade of research, Higonnet weaves letters, auction records, and photographs into an engrossing account of the founding of both famous and obscure collection museums. She also explores how these collectors stocked the soaring values that began to be accorded paintings by artists from Raphael to Rembrandt and Reynolds.

Anne Higonnet is Professor of Art History, Barnard College.

Jan 2010 cloth US $49.95 Can $54.95 £24.95 49.959 x 10 in. / 23 x 25 cm 243 pages 197 illustrationsISBN 978-1-934552-92-8

Yale professor Robert Farris Thompson is a living legend. He started writing about the African heritage in the arts of the Americas when no one recognized the continuities, when African-American studies did not exist, and the Civil Rights Movement still met with violent opposition. This book pres-ents the best of Thompson’s essays on Afro-Atlantic art from 1963-2006. Brought together for the first time in this publica-tion, they offer an incomparable guide to Afro-Atlantic culture from the mambo to James Hampton’s glittering Throne of the Third Heaven. One riveting piece on David Hammons, a leading figure in contemporary art, appears here for the first time. Among a staggering array of topics, other essays shine new light on Haitian bus painting; Jean-Michel Basquiat’s love of jazz; hip-hop, Betye Saar and vodun; Keith Haring the Dancer; and the ethos transmitted in the aesthetic of the

“cool.” Many of the color illustrations reproduce Thompson’s own photographs of dance, altars, and lost masterpieces of yard shows. Two long interviews give insight into Thompson’s work as a founder of Afro-Atlantic studies.

Aesthetic of the cool is a deeply and complexly motivated, consciously artistic interweaving of elements serious and pleasurable, of responsibility and of play. It concentrates upon matters of social balance and aesthetic substance, creative matters, full of motion and brillance.Robert Farris Thompson

March 2010 cloth US $40 Can $43.95 £20 34.958.5 x 10 in. / 21.59 x 25.40 cm 256 pages 189 illustrations ISBN 978-1-934772-95-9

A ! ! " H # $ % ! ! " &A ! ! " H # $ % ! ! " &A ! ! " H# $ % ! ! "& Museum of One’s Own | Pr iva te Col lec t ing , Publ ic Gi f t

Why have you, an art historian known for pioneering study of the history of museums, chosen to write about the librarian John Cotton Dana?Dana had a double career. First he became a major force in the modernization of the American public library, and then, in the 1910s and 20s, he became an innovative museum director. In his own day, he was famous in both guises. My book looks at Dana’s important work as a librarian, but the emphasis is on Dana’s museum work.

Why is your book entitled A Matter of Class instead of the obvious John Cotton Dana?Dana is certainly the protagonist of the story I tell. The sub-title makes clear that he is the central figure. But the book isn’t a biography in the usual sense. My aim has been to under-stand Dana accomplishments in the context of his times. Dana embarked on his museum career in the Progressive Era, and his goals were similar to those of other reformers of the time, most notably the philosopher John Dewey and the social reformer Jane Addams. This generation of reformers struggled to create modern democratic institutions—schools, museums and libraries—in a world marked by sharp and sometimes violent class conflict and ethnic and racial ten-sions. At the same time, the commercial and industrial tycoons who funded art museums regarded them as a means of securing an upper-class social identity. Dana needed the support of these men, but he opposed their idea of an art museum. So class matters play a central role in the book and I wanted the title to reflect that.

How much did Dana achieve in the Newark Museum? Much of the book tries to answer that question. Dana wanted to create a museum that would speak to the working people of his city. Although he had to compromise some of his ideal-ism, he figured out how to bring people—young and old, na-tive and foreign born—into his museum and make them feel at home. He gave the world an alternative museum model—he called it “a museum with brains.” Instead of the hushed gloom of conventional art museums with their displays of rare and costly treasures, his museum showed people the aesthetic possibilities of the everyday world. He filled his gal-leries with modern, mass produced objects—comic books, bathtubs, pots and pans. And he featured painting, sculpture, prints and photographs that were affordable and made, not by dead Europeans, but by living local artists.

How pertinent is his achievement to contemporary concerns?His writings about museums are still wonderfully fresh, in-sightful and witty, and many of his criticisms of Gilded Age museums are applicable to today’s museums, especially his comments about expensive, showy museum buildings. More broadly, Dana’s commitment to democratic values and his fierce defense of free speech and open inquiry are as relevant today as ever they were in the past.

January 2010 cloth US $40 Can $43.95 £20 39.959 x 11.25 in. 234 pages 84 illustrationsISBN 978-1-934772-91-1

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carol g. duncan

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Colossal: Engineering Modernity Suez Canal Statue of Liberty Eiffel Tower Panama CanalDarcy Grimaldo GrigsbyWhy does your book treat not just the Statue of Liberty—but also the Eiffel Tower, the Suez Canal, and the Panama Canal?Colossal shows that the stories of all four are deeply intercon-nected. For example, Bartholdi initially designed the Statue of Liberty to stand at the entrance of the Suez Canal. Gustave Eiffel built the interior armature for the Statue of Liberty and built the Eiffel Tower with money he made as en engineer for the locks of the Panama Canal.

Your last book was on 19th-century French painting. What led you so far afield?I am an art historian who adores painting—and painting does figure in the last two chapters of Colossal—but it was motivated by a desire to describe the specific nature of late 19th-century and early 20th-century imperial ambitions. Technology was key as was immense scale. As one engineer-ing draftsman put it, he did not want to draw on paper but on the earth itself.

How does your book differ from previous publications on these famous colossi?My book establishes the interrelationship between all four as no other book has. As an art historian I also care about how the protagonists thought about form, line, and scale as well as representation more generally.

The French gave the Statue of Liberty to the U.S. In what ways does international politics enter your book?International politics characterize this entire narrative. Colossal focuses primarily on the rivalry between France and

the United States, but that rivalry consisted not only in the form of towering monuments like the Statue of Liberty and the Eiffel Tower but also in the canals in Egypt and Panama. Key too are the universal exhibitions of 1867 and 1889 in Paris and the Panama-Pacific Exhibition in San Francisco in 1915.

Are there heroes in Colossal?There are no heroes, but there certainly are vivid, larger-than-life men—Teddy Roosevelt, Ferdinand de Lesseps, Gustave Eiffel, Thomas Edison, and Frederic-Auguste Bartholdi, among others. And there are writers—Jules Verne and Villiers de L’Isle-Adam—who tell us much about how the 19th century imagined modernity.

Darcy Grimaldo Grigsby is the author of Extremities: Painting Empire in Post-Revolutionary France and Professor of the History of Art and Architecture at the University of California, Berkeley.

March 2010, board US $65 Can $81 £45 49.959.25 x 11.5 in./23.5 x 29.21 cm 288 pages 240 illustrationsISBN 978-1-934772-76-8

A Matter of Class: John Cotton Dana, Progressive Reform, and the Newark MuseumCarol G. Duncan

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Colossal: Engineering Modernity Suez Canal Statue of Liberty Eiffel Tower Panama Canal

Darcy Grimaldo Grigsby

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Building Iran: Modernism, Architecture, and National Heritage under the Pahlavi Monarchs Talinn GrigorBuilding Iran: Modernish, Architecture, National Heritage, and under the Pahlavi Monarchs Building Iran: Modernism, Architecture, and National Heritage under the Pahlavi Monarchs is a compelling guide to a juncture in Iranian his-tory when foundational issues of national purpose and cul-tural heritage—secular reform and religious tradition—were being reframed. Architecture of the Pahlavi reign, 1925–79, is the principal subject of discussion, along with the Society for National Heritage, which commissioned numerous buildings and monuments (including mausoleums for Ferdowsi and Omar Khayyam), initiated over sixty preservation projects, and founded the nation’s first archeological museum and its first national library. The broad scope of analysis sheds new light on how and why Iran’s cultural heritage was reinvented and used as a corridor to a progressive and at times utopian modernity; as an ideology for political reforms; and as a platform for claims to a leadership role in international poli-tics. Abundantly illustrated, this book introduces architecture and historical sources that are all but unknown outside spe-cialist circles.

“Talinn Grigor’s book is a highly original and much needed study of how ideology—especially ethnic and state nationalism—has influenced architecture in modern Iran. It is an invaluable work not only for architectural history but also for the understanding of the Pahlavi era and the intelligentsia in twentieth-century Iran.” Ervand AbrahamianDistinguished Professor, Baruch College

Talinn Grigor is Assistant Professor of Fine Arts at Brandeis University.

Dec 2009 cloth US $55 Can $67.95 £35 459 x 12 in. / 22.86 x 30.48 cm, 240 pages, 231 illustrationsISBN 978-1-934772-78-2

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FALL 2008 BOOKS

Aesthetic of the Cool: Afro-Atlantic Art and MusicRobert Farris Thompson

US $40 Can $43.95 £20 34.95ISBN 978-1-934772-95-9

Heights of Fashion: A History of the Elevated ShoeElizabeth Semmelhack

US $30 Can $32.95 £15 19.95ISBN 978-1-934772-94-2

A Museum of One’s Own: Private Collecting, Public GiftAnne Higonnet

US $49.95 Can $54.95 £24.95 49.95ISBN 978-1-934772-92-8

‘How To Have A Museum With Brains’ John Cotton Dana and the Making of a Democratic Culture for America

Carol DuncanUS $40 Can $43.95 £20 39.95

ISBN 978-1-934772-91-1

The Triumph of Marriage: Painted Cassoni of the RenaissanceCristelle Baskins

US $45 Can $48.95 £22.50 39.95ISBN 978-1-934772-86-7

Marks of Identity New Perspectives on Italian Sculpture of the Sixteenth Century

Dimitrios ZikosUS $25 Can $27.50 £12.99 24.95

ISBN 978-1-934772-87-4

The Imaginary Everyday Genre Painting and Prints in Italy and France, 1580–1670

Sheila McTigheUS $65 Can $72.50 £32.50 49.95

ISBN 978-1-934772-89-8

Luxury for Export Artistic Exchange between India and Portugal around 1600

Pedro Moura CarvalhoUS $25 Can $27.50 £12.99 19.95

ISBN 978-1-934772-96-6

Desperate Necessity Writings on Art and Creativity in Psychoanalytic Theory

Eugene GlynnUS $20 Can $22 £10 19.95

ISBN 978-1-934772-88-1

The Chadwick Family PapersJimbo Blachly & Lytle Shaw

US $35 Can $38.95 £17.50 29.95ISBN 978-1-934772-90-4

SPRING 2009 BOOKS

Journeys East: Isabella Stewart Gardner and AsiaAlan Chong & Noriko MuraiUS $75 Can $93 £50 59

ISBN 978-1-934772-75-1

Colossal: Engineering Modernity Suez Canal Statue of Liberty Eiffel Tower Panama Canal

Darcy Grimaldo GrigsbyUS $65 Can $81 £45 49.95

ISBN 978-1-934772-76-8

The Tuscany of Our Dreams: Mussolini to AgritourismD. Medina Lasansky

US $35 Can $43.75 £25 29.95ISBN 978-1-934772-77-5

The Civil(ized) NationCultural Heritage and Modernity in 20th-Century Iran

Talinn GrigorUS $55 Can $67.95 £35 45

ISBN 978-1-934772-78-2

Learning from Harlem, Port-au-Prince, Urobo, Filadelfia, Marcovia, Aranya, Malawi, Gambia, Pretoria

Hansy Better, contributing editorUS $35 Can $43.75 £25 29.95

ISBN 978-1-934772-79-9

‘The Mysticism of Money’ Precisionist Painting and Machine Age America

Andrew HemingwayUS $45 Can $55.95 £30 39.95

ISBN 978-1-934772-80-5

Midnight, The Tempest EssaysMolly Nesbit

US $30 Can $37.50 £19.99 24.95ISBN 978-1-934772-81-2

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Photo Credits:Lasansky: Horacio Villalobos/CORBIS; Nik Wheeler/CORBISSmith: Erich Lessing/Art Resource, NY; John Springer Collection/CORBISHumphrey: Courtesy of the ArtistsMediterranean: Isabella Stewart Gardner MuseumWang: Isabella Stewart Gardner Museum

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Our logo derives from an Ejagham pictograph. It refers to speech that bridges difference, and, more broadly, to the word.

ISBN 978-1-934772-27-0

Periscope Publishing, Ltd. 150 West Hutchinson Avenue, CottagePittsburgh, Pennsylvania 15218

www.periscopepublishing.com

Founded in 2007, Periscope is a full-service publisher of books about art & architecture as understood & practiced in contemporary society. For books of this 21st-century sort, history is never over or finished or entirely just. It is the prime business of today. To do this work, our books adopt the perspectives implied by our name, Periscope. A periscope uses mirrors to bend and extend human vision. Johannes Gutenberg, father of the printed book, invented the device for 15th-century pilgrims. Periscopes in hand, they could see the wonders of the world close-up and in detail. Periscope books are likewise instruments of exploration and scrutiny. They breach the distance separating the person from the monument, from the orthodox. Periscope publishes books on the visual culture of all periods in history and all areas of the globe. We partner with museums. We commission books on neglected issues. We promote artists, writers, and scholars with talent and nerve and a story worth telling. Gloria Kury, Director