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Mariko Mori, White Hole VII, 2009. Mixed media on Plexiglas panel. 50 x 55 in. Collection of the artist
Rebirth
Recent Work by
Mariko Mori
Edited and with a
foreword by Miwako
Tezuka • Essays by Brett
Littman and Takayo Iida
Contemporary artist
Mariko Mori has transformed herself many times since her
memorable debut onto the international art scene in the mid-
1990s. Over the past two decades, Mori has made a significant
shift in the focus of her work, moving away from self-obsessive
motifs and performance pieces to a diametrically opposite
approach of self-effacement. Her own image has disappeared
from her Pop-oriented work, and her interest now inclines
toward the prehistoric world in which everything existed in an
amorphous state without text, religion, nation, or division
between humankind and nature.
This fascinating book features over 35 immersive installations,
sculptures, drawings (including previously unpublished works)
and videos produced by the artist between 2003 and 2012.
Exhibition Japan Society Gallery, 11/10/2013 – 12/01/2014
Miwako Tezuka is director of Japan Society Gallery. Brett
Littman is executive director of The Drawing Center, New York.
Takayo Iida is chief curator of Aomori Museum of Art in Japan.
Distributed for Japan Society
September 176 pp. 279x203mm. 80 colour + 15 b/w illus.
HB ISBN 978-0-300-19688-7 £40.00*
Translation rights: Japan Society, New York
God Is Beautiful
and Loves Beauty
The Object in Islamic
Art and Culture
Edited by Sheila Blair
and Jonathan Bloom
Art 63
The Islamic world, spanning
centuries and far-flung regions, is
renowned for its diverse cultural
and artistic traditions. This sumptuous book delves into that vast
creative output, examining a dozen exquisite objects in the
Museum of Islamic Art, in Doha, Qatar, designed by the
Chinese-American architect I. M. Pei and opened in 2008.
Twelve prominent scholars from across the globe select works
representing various centres of Islamic life, from early Spain to
17th-century India, as well as a range of media including textiles,
ceramics, metalwork and miniature paintings. Authoritative texts
put the objects into context, exploring the relationships to those
people who produced and lived among them.
Sheila Blair and Jonathan Bloom, wife and husband scholars,
share the Hamad bin Khalifa Endowed Chair of Islamic Art at
Virginia Commonwealth University as well as the Norma Jean
Calderwood University Professorship in Islamic and Asian Art
at Boston College.
Published in association with The Qatar Foundation, Virginia
Commonwealth University, and Virginia Commonwealth University
School of the Arts in Qatar
November 496 pp. 290x230mm. 400 colour + 20 b/w illus.
HB ISBN 978-0-300-19666-5 £45.00*
Iran Modern
Edited by Fereshteh Daftari
and Layla S. Diba
Supported by a thriving art
market in the Persian Gulf,
interest in Iranian modern art has
intensified in recent years. Iran
Modern offers a timely exploration
of the cultural diversity and
production of avant-garde art in Iran after the Second World
War and up to the revolution – from 1950 through 1979.
Ten essays by distinguished scholars of art and history elucidate
the early development of Iranian artists, patrons, galleries, art
schools, architects, and writers who influenced and participated
in the dynamic decades of the 1950s, 1960s and 1970s. The
essays describe a time when Iran experienced an outpouring of
original and creative modern art and when the country was very
much a part of the international art world.
Exhibition Asia Society Museum, 07/09/13 – 05/01/14
Fereshteh Daftari is an independent scholar who was a curator
with The Museum of Modern Art, New York from
1988–2009. Layla S. Diba is an independent scholar who was
Hagop Kevorkian Curator of Islamic Art at the Brooklyn
Museum of Art and the director and chief curator of the
Negarestan Museum in Tehran from 1975–1979.
Distributed for Asia Society Museum
August 324 pp. 305x229mm. 150 colour + 25 b/w illus.
HB ISBN 978-0-300-19736-5 £40.00*
An American Style
Global Sources for New York
Textile and Fashion Design,
1915–1927
Ann Marguerite Tartsinis
In 1915 the American Museum of
Natural History (AMNH)
embarked upon a mission to
energise the American textile
industry. Curators sought to
innovate a distinctly ‘American’ design idiom drawing on a
more universal ‘primitive’ language. Ethnographic objects were
included in study rooms; designers gained access to storage
rooms; and museum artifacts were loaned to design houses
and department stores. In order to attract designers and
reluctant manufacturers, who quickly responded, collections
were supplemented with specimens including fur garments
from Siberia, Persian costumes and Javanese textiles. This book
positions the project at the AMNH in the broader narrative of
early 20th-century design education in New York which
includes the roles of the Metropolitan Museum of Art, the
Brooklyn Museum and the Newark Museum.
Exhibition Bard Graduate Center, 27/09/13 – 19/02/14
Ann Marguerite Tartsinis is associate curator at the Bard
Graduate Center.
Distributed for the Bard Graduate Center, New York
October 136 pp. 222x178mm. 30 colour + 70 b/w illus.
PB ISBN 978-0-300-19943-7 £25.00*
Translation rights: Bard Graduate Center, New York