Leah Dickerman

ACTIVE BACKLIST

INVENTING ABSTRACTION, 1910-1925
THE MUSEUM OF MODERN ART, NEW YORK
ISBN: 9780870708282 | US $75.00
Pub Date: 1/31/2013
Active | In stock

DIEGO RIVERA: MURALS FOR THE MUSEUM OF MODERN ART
Edited by Leah Dickerman. Text by Anna Indych-Lopez.
THE MUSEUM OF MODERN ART, NEW YORK
ISBN: 9780870708176 | US $35.00
Pub Date: 11/30/2011
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BAUHAUS 1919-1933
THE MUSEUM OF MODERN ART, NEW YORK
ISBN: 9780870707582 | US $75.00
Pub Date: 12/11/2009
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DADA: ZURICH, BERLIN, HANNOVER, COLOGNE, NEW YORK, PARIS
NATIONAL GALLERY OF ART, WASHINGTON/D.A.P.
ISBN: 9780894683138 | US $29.95
Pub Date: 3/1/2008
Active | Awaiting stock

DADA: ZURICH, BERLIN, HANNOVER, COLOGNE, NEW YORK, PARIS
NATIONAL GALLERY OF ART, WASHINGTON/D.A.P.
ISBN: 9781933045207 | US $65.00
Pub Date: 11/15/2005
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THE DADA SEMINARS
D.A.P./THE NATIONAL GALLERY OF ART, WASHINGTON
ISBN: 9781933045139 | US $25.00
Pub Date: 5/15/2005
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THE DADA SEMINARS
D.A.P./THE NATIONAL GALLERY OF ART, WASHINGTON
ISBN: 9781933045146 | US $45.00
Pub Date: 5/15/2005
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OUT OF PRINT LISTING

ALEXANDER RODCHENKO
THE MUSEUM OF MODERN ART, NEW YORK
ISBN: 9780870700637 | US $49.95
Pub Date: 7/2/2002
Out of print | Not available

Leah Dickerman

Inventing Abstraction, 1910-1925

By Leah Dickerman. Text by Matthew Affron, Yve-Alain Bois, Masha Chlenova, Ester Coen, Christoph Cox, Hubert Damisch, Rachael DeLue, Hal Foster, Mark Franko, Matthew Gale, Peter Galison, Maria Gough, Jodi Hauptman, Gordon Hughes, David Joselit, Anton Kaes, David Lang, Susan Laxton, Philippe-Alain Michaud, Jaroslav Suchan, Lanka Tatersall, Michael R. Taylor.
Published by The Museum of Modern Art, New York

In 1912, in several European cities, a handful of artists--Vasily Kandinsky, Frantisek Kupka, Francis Picabia and Robert Delaunay--presented the first abstract pictures to the public. Inventing Abstraction, published to accompany an exhibition at The Museum of Modern Art, celebrates the centennial of this bold new type of artwork. It traces the development of abstraction as it moved through a network of modern artists, from Marsden Hartley and Marcel Duchamp to Piet Mondrian and Kazimir Malevich, sweeping across nations and across media. This richly illustrated publication covers a wide range of artistic production--including paintings, drawings, books, sculptures, film, photography, sound poetry, atonal music and non-narrative dance--to draw a cross-media portrait of these watershed years. An introductory essay by Leah Dickerman, Curator in the Museum’s Department of Painting and Sculpture, is followed by focused studies of key groups of works, events and critical issues in abstraction’s early history by renowned scholars from a variety of fields.

Diego Rivera: Murals for The Museum of Modern Art

Edited by Leah Dickerman. Text by Anna Indych-Lopez.
Published by The Museum of Modern Art, New York

In 1931, Diego Rivera was the subject of The Museum of Modern Art's second monographic exhibition, which set new attendance records in its five-week run. The Museum brought Rivera to New York six weeks before the show's opening and gave him on-site studio space. There he produced five “portable murals” --large blocks of frescoed plaster, slaked lime and wood that feature bold images drawn from Mexican subject matter and address themes of revolution and class inequity. After the opening, to great publicity, Rivera added three more murals, now taking on New York subjects through monumental images of the urban working class and the city during the Great Depression. Published in conjunction with an exhibition that brings together key works made for Rivera's 1931 show, this catalogue casts the artist as a highly cosmopolitan figure who traveled between Russia, Mexico and the United States and examines the intersection of artmaking and radical politics in the 1930s. Illustrated with reproductions of each panel as well as related paintings, drawings, prints and documentary photographs, the book's essays investigate the international politics of muralism, Rivera's history with MoMA, the iconography of the portable murals and technical aspects of the artist's working process.
Diego Rivera (1886-1957) was a central figure in the development of Mexican muralism, an ambitious public art initiative intended to relay Mexico's ideals after the Revolution (1910-1920). A highly cosmopolitan artist, Rivera had spent many years in Europe before returning to Mexico in 1921, and in 1927 he traveled to the Soviet Union where he met Alfred Barr, the soon-to-be founding director of The Museum of Modern Art, New York. Rivera's artistic celebrity benefitted from major commissions in the United States, including murals for the Pacific Stock Exchange, the California School of Fine Arts in San Francisco, MoMA and the Detroit Institute of Arts. By the 1930s, he enjoyed an unrivaled status at the center of international debates about public art and politics..

Bauhaus 1919-1933

Workshops for Modernity

Text by Barry Bergdoll, Leah Dickerman, Benjamin H.D. Buchloh, Brigid Doherty, Hal Foster, Charles W. Haxthausen, Andreas Huyssen, Michael Jennings, Juliet Kinchin, Ellen Lupton, Christine Mehring, Detlef Mertins, Marco De Michelis, Peter Nisbet, Paul Monty Paret, Alex Potts, Frederic J. Schwarz, T'ai Smith, Adrian Sudhalter, Klaus Weber, Christopher Wilk, Matthew S. Witkovsky.
Published by The Museum of Modern Art, New York

The Bauhaus, the school of art and design founded in Germany in 1919 and shut down by the Nazis in 1933, brought together artists, architects and designers--among them Anni and Josef Albers, Herbert Bayer, Marcel Breuer, Lyonel Feininger, Walter Gropius, Johannes Itten, Vasily Kandinsky, Paul Klee, László Moholy-Nagy, Lilly Reich, Oskar Schlemmer, Gunta Stölzl--in an extraordinary conversation on the nature of art in the industrial age. Aiming to rethink the form of modern life, the Bauhaus became the site of a dazzling array of experiments in the visual arts that have profoundly shaped the world today. Bauhaus 1919-1933: Workshops for Modernity, published to accompany a major multimedia exhibition, is The Museum of Modern Art's first comprehensive treatment of the subject since its famous Bauhaus exhibition of 1938, and offers a new generational perspective on the twentieth century's most influential experiment in artistic education. Organized in collaboration with the three major Bauhaus collections in Germany (the Bauhaus-Archiv Berlin, the Stiftung Bauhaus Dessau and the Klassic Stiftung Weimar), Bauhaus 1919-1933 examines the extraordinarily broad spectrum of the school's products, including industrial design, furniture, architecture, graphics, photography, textiles, ceramics, theater and costume design, painting and sculpture. Many of the objects discussed and illustrated here have rarely if ever been seen or published outside Germany. Featuring approximately 400 color plates, richly complemented by documentary images, Bauhaus 1919-1933 includes two overarching essays by the exhibition's curators, Barry Bergdoll and Leah Dickerman, that present new perspectives on the Bauhaus. Shorter essays by more than 20 leading scholars apply contemporary viewpoints to 30 key Bauhaus objects, and an illustrated narrative chronology provides a dynamic glimpse of the Bauhaus' lived history.

Dada: Zurich, Berlin, Hannover, Cologne, New York, Paris

Edited by Leah Dickerman. Preface by Earl A. Powell. Text by Leah Dickerman, Dorothea Dietrich, Brigid Doherty, Sabine T. Kriebel, Janine Mileaf, Michael R. Taylor, Matthew S. Witkovsky.
Published by National Gallery of Art, Washington/D.A.P.

Now available in paperback, this lavishly illustrated and astonishingly comprehensive volume stands as the definitive study of the influential but deliberately elusive international Dada movement of the early twentieth century. Organized according to the primary city centers where this shifting, quintessentially avant garde movement emerged, Dada: Zurich, Berlin, Hannover, Cologne, New York, Paris features the work of 40 key artists, both infamous and lesser-known, including Louis Aragon, Hans Arp, Hugo Ball, André Breton, Otto Dix, Marcel Duchamp, Hannah Höch, Man Ray, Tristan Tzara and Kurt Schwitters, to name just a few, in media spanning painting, sculpture, photography, collage, photomontage, prints and graphic work. Dynamically designed with an uncommon intelligence suited to the complexity of the movement itself, it contains hundreds of reproductions of works which, until the major traveling exhibition of 2005 and 2006 for which this book was originally produced, had for the most part never been seen in one place together. Documentary images, topical essays and an invaluable illustrated chronology of the movement make this volume uniquely essential, along with witty chronicles of events in each city center, a selected bibliography and biographies of each artist, accompanied by Dada-era photographs.

Dada: Zurich, Berlin, Hannover, Cologne, New York, Paris

Edited by Leah Dickerman. Essays by Brigid Doherty, Sabine T. Kriebel, Dorothea Dietrich, Michael R. Taylor, Janine Mileaf and Matthew S. Witkovsky. Foreword by Earl A. Powell III.
Published by National Gallery of Art, Washington/D.A.P.

Along with Russian Constructivism and Surrealism, Dada stands as one of the three most significant movements of the historical avant garde. Born in the heart of Europe in the midst of World War I, Dada displayed a raucous skepticism about accepted values. Its embrace of new materials, of collage and assemblage techniques, of the designation of manufactured objects as art objects as well as its interest in performance, sound poetry and manifestos fundamentally shaped the terms of modern art practice and created an abiding legacy for postwar art. Yet, while the word Dada has common currency, few know much about Dada art itself. In contrast to other key avant-garde movements, there has never been a major American exhibition that explores Dada specifically in broad view. Dada--the catalogue to the exhibition on view in 2006 at the National Gallery of Art in Washington and The Museum of Modern Art in New York presents the hybrid forms of Dada art through an examination of city centers where Dada emerged: Zurich, Berlin, Cologne, Hanover, New York and Paris. Covered here are works by some 40 artists made in the period from circa 1916, when the Cabaret Voltaire was founded in Zurich, to 1926, by which time most of the Dada groups had dispersed or significantly transformed. The city sections bring together painting, sculpture, photography, collage, photomontage, prints and graphic work.
Relying on dynamic design and vivid documentary images, Dada takes us through these six cities via topical essays and extensive plate sections; an illustrated chronology of the movement; witty chronicles of events in each city center; a selected bibliography; and biographies of each artist--accompanied by Dada-era photographs.

The Dada Seminars

Introduction by Leah Dickerman. Essays by George Baker, Leah Dickerman, Uwe Fleckner, Hal Foster, T. J. Demos, Amelia Jones, David Joselit, Marcella Lista, Helen Molesworth, Arnauld Pierre, Jeffrey T. Schnapp and Matthew S. Witkovsky.
Published by D.A.P./The National Gallery of Art, Washington

This volume of 12 essays fills a broad gap in Modernist art history. Taken together, these case studies on artists and concepts present Dada as a coherent movement with a set of operating principles. Among the “ tactics” elaborated are the hyperbolic mimicry of dominant social and linguistic conventions, the performance of gender and other aspects of identity, the usurpation of the modes of a new media culture and the marketplace, and the recycling of history and memory in a world traumatized by war. The Dada Seminars developed out of a series held by the Center for Advanced Study in the Visual Arts at the National Gallery of Art, in advance of 2005's major traveling exhibition on international Dada. Contributors include George Baker, T.J. Demos, Leah Dickerman, Uwe Fleckner, Hal Foster, Amelia Jones, David Joselit, Marcella Lista, Helen Molesworth, Arnauld Pierre, Jeffrey T. Schnapp and Matthew S. Witkovsky.

The Dada Seminars

Introduction by Leah Dickerman. Essays by George Baker, Leah Dickerman, Uwe Fleckner, Hal Foster, T. J. Demos, Amelia Jones, David Joselit, Marcella Lista, Helen Molesworth, Arnauld Pierre, Jeffrey T. Schnapp and Matthew S. Witkovsky.
Published by D.A.P./The National Gallery of Art, Washington

This volume of 12 essays fills a broad gap in Modernist art history. Taken together, these case studies on artists and concepts present Dada as a coherent movement with a set of operating principles. Among the “ tactics” elaborated are the hyperbolic mimicry of dominant social and linguistic conventions, the performance of gender and other aspects of identity, the usurpation of the modes of a new media culture and marketplace, and the recycling of history and memory as blasted in a world traumatized by war.The Dada Seminars developed out of a series of seminars held by the Center for Advanced Study in the Visual Arts at the National Gallery of Art, in advance of 2005's major traveling exhibition on international Dada. Contributors include George Baker, T.J. Demos, Leah Dickerman, Uwe Fleckner, Hal Foster, Amelia Jones, David Joselit, Marcella Lista, Helen Molesworth, Arnauld Pierre, Jeffrey T. Schnapp and Matthew S. Witkovsky.

Alexander Rodchenko

Painting, Drawing, Collage, Design, Photography

Edited by Magdalena Dabrowski, Leah Dickerman and Peter Galassi. Essays by Magdalena Dabrowski, Leah Dickerman, Peter Galassi, Aleksandr Lavrent'ev and Varvara Rodchenko. Foreword by Glenn D. Lowry.
Published by The Museum of Modern Art, New York

Alexander Rodchenko was the most important and versatile member of the Constructivist movement, the progressive artists who created a new art after the Russian Revolution of 1917. This comprehensive book, rich in illustrations and relying extensively on new research from Russia, accompanied the first major retrospective exhibition in the United States of Rodchenko's work at The Museum of Modern Art, New York, in 1998. In 1921 Rodchenko left behind his innovative work in abstract painting and sculpture, committing himself to applied art in the service of revolutionary ideals. Included in this first full and coherent overview are not only Rodchenko's painting and sculpture but also his diverse experiments and lasting achievements in photocollage, photography, and design of all kinds, from books, posters, magazines, and advertising, to furniture.