The first in a two-volume survey, readers are invited to re-examine the history of the West and its art through a multi-faceted contemporary lens. More than 40 artists are included who reflect the tremendous diversity, depth, and breadth of a field steeped in history. While some follow the traditions established by Remington and Russell, others seek to break from tradition, busting myths and bringing new insights and artistic styles to the genre. They come from both sides of the Mississippi and have pedigrees that range from bona fide cowboy or Native American credentials to careers in commercial illustration. The unifying theme is a common concern for and commitment to their art and the West itself. In this volume, contemporary artists are featured whose work revolves around the American Cowboy. Within these pages, many different artists, some of whom have been cowboys themselves, exhibit their rendition of the wonderful world of the West.

The first in a two-volume survey, readers are invited to re-examine the history of the West and its art through a multi-faceted contemporary lens. More than 40 artists are included who reflect the tremendous diversity, depth, and breadth of a field steeped in history. While some follow the traditions established by Remington and Russell, others seek to break from tradition, busting myths and bringing new insights and artistic styles to the genre. They come from both sides of the Mississippi and have pedigrees that range from bona fide cowboy or Native American credentials to careers in commercial illustration. The unifying theme is a common concern for and commitment to their art and the West itself. In this volume, contemporary artists are featured whose work revolves around the American Cowboy. Within these pages, many different artists, some of whom have been cowboys themselves, exhibit their rendition of the wonderful world of the West.

The second book in this two-volume survey, readers are invited to re-examine the history of the West and its art through a multi-faceted contemporary lens. More than 30 artists are included who reflect the tremendous diversity, depth, and breadth of a field steeped in history. While some follow the traditions established by Remington and Russell, others seek to break from tradition, busting myths and bringing new insights and artistic styles to the genre. They come from both sides of the Mississippi and have pedigrees that range from bona fide cowboy or Native American credentials to careers in commercial illustration. The unifying theme is a common concern for and commitment to their art and the West itself. In this volume, contemporary artists are featured whose work revolves around Native Americans. A significant majority of the imagery produced featuring Native American subjects taps into the idea of a lost cause or vanishing race. Consequently, the most often heard request from native peoples is recognition that they still exist and in many cases are thriving as they revive or maintain their culture. The art created by artists herein also plays a role in helping reinforce the fact that Native American culture, while still threatened, is viable among many tribes.

Presents a collection of art that showcases visual tropes of masters with their adoring slaves and Africans as victims and individuals.

In our chaotic world of co-opted imagery, does art still have power? A fog of images and information permeates the world nowadays: from advertising, television, radio, and film to the glut produced by the new economy and the rise of social media . . . where even our friends suddenly seem to be selling us the ultimate product: themselves. Here, Nato Thompson—one of the country’s most celebrated young curators and critics—investigates what this deluge means for those dedicated to socially engaged art and activism. How can anyone find a voice and make change in a world flooded with such pseudo-art? How are we supposed to discern what’s true in the product emanating from the ceaseless machine of consumer capitalism, a machine that appropriates from art history, and now from the methods of grassroots political organizing and even social networking? Thompson’s invigorating answers to those questions highlights the work of some of the most innovative and interesting artists and activists working today, as well as institutions that empower their communities to see power and reimagine it. From cooperative housing to anarchist infoshops to alternative art venues, Seeing Power reveals ways that art today can and does inspire innovation and dramatic transformation . . . perhaps as never before.

From the first Modernist exhibitions in the late 1890s to the Soviet rupture with the West in the mid-1930s, Russian artists and writers came into wide contact with modern European art and ideas. Introducing a wealth of little-known material set in an illuminating interpretive context, this sourcebook presents Russian and Soviet views of Western art during this critical period of cultural transformation. The writings document complex responses to these works and ideas before the Russians lost contact with them almost entirely. Many of these writings have been unavailable to foreign readers and, until recently, were not widely known even to Russian scholars. Both an important reference and a valuable resource for classrooms, the book includes an introductory essay and shorter introductions to the individual sections.