{"title":"Series: MoMA One on One Series","description":"\u003cp\u003eThe \u003cstrong\u003eMoMA One on One Series\u003c\/strong\u003e offers a diverse collection of works that engage with contemporary thought and culture across multiple disciplines. Readers can explore incisive perspectives on philosophy, finance, technology, and history, each title inviting reflection and fresh understanding through accessible yet profound narratives.\u003c\/p\u003e\n\n\u003cp\u003eFrom explorations of altruism and value investing to journeys through travel and graphic storytelling, this series bridges intellectual inquiry with creative expression. It is an ideal selection for curious minds seeking to connect ideas in \u003cem\u003ePhilosophy \u0026amp; Psychology\u003c\/em\u003e, \u003cem\u003eBusiness \u0026amp; Entrepreneurship\u003c\/em\u003e, \u003cem\u003eComputing \u0026amp; Technology\u003c\/em\u003e, and beyond.\u003c\/p\u003e","products":[{"product_id":"kahlo-self-portrait-with-cropped-hair-by-jodi-roberts-9781633450752","title":"Kahlo: Self-Portrait with Cropped Hair","description":"\u003cdiv class=\"book-description\"\u003e\n\u003cp\u003e\u003cb\u003eAn accessible and in-depth study of Frida Kahlo, one of the most beloved artists in MoMA's collection.\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp\u003eThough the Surrealists adopted Frida Kahlo as one of their own, the painter maintained that she did \"not know if my paintings are Surrealist or not, but I do know that they are the most frank expression of myself.\" She produced numerous self-portraits, each one an articulation of different facets of herself and her eventful life.\u003c\/p\u003e\n\n\u003cp\u003eIn \u003cem\u003eKahlo: Self-Portrait with Cropped Hair\u003c\/em\u003e, Kahlo painted in the wake of a particularly tumultuous time, just months after she divorced her famous husband, Mexican Muralist painter Diego Rivera. He had always admired her long, dark hair, which, as she indicates in the tresses littering the painting, she had cut off after their split. She also shows herself in an oversized suit resembling the ones that Rivera wore.\u003c\/p\u003e\n\n\u003cp\u003eThrough such emotionally and symbolically charged details, Kahlo expresses her feelings about her relationship with Rivera while also asserting her sense of self as an independent artist.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Thames and Hudson (Australia) Pty Ltd","offers":[{"title":"Default Title","offer_id":47078911181036,"sku":"9781633450752","price":34.99,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0705\/7784\/8556\/files\/15755013482769.jpg?v=1765224777"},{"product_id":"salvador-dali-the-persistence-of-memory-by-anne-umland-9781633451759","title":"Salvador Dalí: The Persistence of Memory","description":"\u003cp\u003e\u003cb\u003eA fascinating and detailed analysis of one of the most iconic works of Surrealism \u003c\/b\u003e \u003cbr\u003e\u003cbr\u003e In 1931, Salvador Dalí (1904-89) painted \u003ci\u003eThe Persistence of Memory\u003c\/i\u003e, a work that has become virtually synonymous both with the artist and with Surrealism itself. In this bleak and infinite dreamscape, hard objects become inexplicably limp, while metal attracts ants like rotting flesh. Yet realistic details are included, too: the distant cliffs depict the coastline of Dalí's native Catalonia. Tapping deep into the non-rational mechanisms of his mind-dreams, the imagination and the subconscious- and utilizing what he called \"the usual paralyzing tricks of eye-fooling,\" Dalí claimed that he made this painting with \"the most imperialist fury of precision,\" but only \"to systematize confusion and thus to help discredit completely the world of reality.\" Curator Anne Umland unpacks this uncanny masterpiece, placing it within Dalí's long career as artist, author, critic, impresario and provocateur.\u003c\/p\u003e","brand":"Thames and Hudson (Australia) Pty Ltd","offers":[{"title":"Default Title","offer_id":47288747065580,"sku":"9781633451759","price":34.99,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0705\/7784\/8556\/files\/15765083482769.jpg?v=1770571984"},{"product_id":"andy-warhol-campbells-soup-cans-by-starr-figura-9781633451360","title":"Andy Warhol: Campbell’s Soup Cans","description":"\u003cdiv class=\"book-description\"\u003e\n\u003cp\u003eIn 1962, when he painted \u003ci\u003eCampbell's Soup Cans\u003c\/i\u003e, Andy Warhol was not yet a household name, and Pop art, the movement with which he is now identified, was still on the cusp of becoming a phenomenon.\u003c\/p\u003e\n\n\u003cp\u003eWith the \u003ci\u003eSoup Cans\u003c\/i\u003e—thirty-two nearly identical canvases, each one featuring a different variety of Campbell's soup—Warhol hit upon a combination of subject, style, and strategy that he would carry forward as his trademark.\u003c\/p\u003e\n\n\u003cp\u003eIn this volume of the MoMA One on One series, curator Starr Figura examines the ways in which the \u003ci\u003eSoup Cans\u003c\/i\u003e mark a pivotal moment in the artist's career, and Warhol's profound impact on art-making.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Thames and Hudson (Australia) Pty Ltd","offers":[{"title":"Default Title","offer_id":47340627984620,"sku":"9781633451360","price":34.99,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0705\/7784\/8556\/files\/15761093482769.jpg?v=1772161564"},{"product_id":"georgia-okeeffe-abstraction-blue-by-samantha-friedman-9781633451346","title":"Georgia O’Keeffe: Abstraction Blue","description":"\u003cdiv class=\"book-description\"\u003e\n\u003cp\u003eDuring the 1920s, Georgia O'Keeffe became widely known for her paintings of enlarged flowers, and these canvases arguably remain her most iconic today. But she regularly returned to abstraction—the language of her breakthrough drawings from the 1910s.\u003c\/p\u003e\n\n\u003cp\u003eExecuted in 1927, \u003cem\u003eAbstraction Blue\u003c\/em\u003e retains the glowing colour, careful modulation, and zoomed-in view of the artist's contemporaneous blooms, while foregoing any obligation toward representation.\u003c\/p\u003e\n\n\u003cp\u003eIn this volume of the MoMA One on One series, curator Samantha Friedman considers how these and other factors converged in the creation of this composition.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Thames and Hudson (Australia) Pty Ltd","offers":[{"title":"Default Title","offer_id":47340806078700,"sku":"9781633451346","price":34.99,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0705\/7784\/8556\/files\/15760953482769.jpg?v=1772170522"},{"product_id":"frank-lloyd-wright-broadacre-city-project-by-juliet-kinchin-9781633451537","title":"Frank Lloyd Wright: Broadacre City Project","description":"\u003cdiv class=\"book-description\"\u003e\n\u003cp\u003e\u003cstrong\u003eThis latest volume in the MoMA One on One series focuses on Frank Lloyd Wright's \u003cem\u003eBroadacre City Project\u003c\/em\u003e (1934-1935).\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003eFrank Lloyd Wright's proposal for \u003cem\u003eBroadacre City\u003c\/em\u003e (1929-35) put forth a remarkable claim—that the metropolis was obsolete. In its place, Broadacre was to be a \"Usonian\" synthesis, an unprecedented landscape unsullied by convention or history, consisting simply of \"architecture and acreage.\"\u003c\/p\u003e\n\n\u003cp\u003eWith its low-density carpet of small plots, predominantly one- and two-story buildings, and seemingly infinite territory, the ruralised landscape of Broadacre would sustain new levels of individuality and freedom, far more democratic than a traditional metropolis could ever support. Yet the 4-square-mile (10.4-square-kilometre) area of the Broadacre City model would give home to only 1,400 families. This would make the population density not quite urban or rural or suburban, but somehow their hybrid, with a social and spatial structure that eludes clear definition.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Thames and Hudson (Australia) Pty Ltd","offers":[{"title":"Default Title","offer_id":47362587295980,"sku":"9781633451537","price":34.99,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0705\/7784\/8556\/files\/15762863482769.jpg?v=1772894907"},{"product_id":"pablo-picasso-boy-leading-a-horse-by-annemarie-iker-9781633451728","title":"Pablo Picasso: Boy Leading a Horse","description":"\u003cdiv class=\"book-description\"\u003e\n\u003cp\u003e\u003cstrong\u003eThis latest volume in the MoMA One on One series focuses on \u003ci\u003ePablo Picasso: Boy Leading a Horse\u003c\/i\u003e (1905-06).\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003ePablo Picasso developed \u003ci\u003eBoy Leading a Horse\u003c\/i\u003e (1905-06) from an unrealised mural during a pivotal period of evolution in his art. The youth in the painting exudes confidence, his clenched fist compelling the steed to follow him without any reins. The vigorous mark-making, relative lack of fine details, and varying hues of browns and greys are emblematic of a shift in Picasso's practice, which would soon be replaced by the artist's radical Cubist explorations in the ensuing years.\u003c\/p\u003e\n\n\u003cp\u003eIn this volume of the \u003ci\u003eOne on One\u003c\/i\u003e series, scholar Annemarie Iker offers a close examination of this composition, contextualising it within the artist's larger oeuvre.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Thames and Hudson (Australia) Pty Ltd","offers":[{"title":"Default Title","offer_id":47362943680748,"sku":"9781633451728","price":36.99,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0705\/7784\/8556\/files\/15764773482769.jpg?v=1772905198"},{"product_id":"kisho-kurokawa-nakagin-capsule-tower-by-evangelos-kotsioris-9781633451735","title":"Kisho Kurokawa: Nakagin Capsule Tower","description":"\u003cdiv class=\"book-description\"\u003e\n\u003cp\u003e\u003cstrong\u003eThis latest volume in the MoMA One on One series focuses on Kisho Kurokawa's Nakagin Capsule Tower in Tokyo, completed between 1970-72.\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003eOne of the most iconic architectural marvels of the postwar period, the Nakagin Capsule Tower in Tokyo was designed by the office of Japanese architect Kisho Kurokawa and completed between 1970-72. The project comprised of two steel and concrete towers outfitted with 140 prefabricated living capsules. Each capsule was intended for single occupancy and came outfitted with its own ensuite bathroom, a fold-out desk, a telephone, a reel-to-reel tape player, a Sony colour television, and a \"porthole\" window overlooking the city.\u003c\/p\u003e\n\n\u003cp\u003eIn this volume of the MoMA \u003cem\u003eOne on One\u003c\/em\u003e series, curator Evangelos Kotsioris delves into the groundbreaking design, construction, evolution, and ultimate need for the demolition of this remarkable structure in 2022.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Thames and Hudson (Australia) Pty Ltd","offers":[{"title":"Default Title","offer_id":47383886692588,"sku":"9781633451735","price":36.99,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0705\/7784\/8556\/files\/15764843482769.jpg?v=1773386210"},{"product_id":"tarsila-do-amaral-the-moon-by-beverly-adams-9781633451353","title":"Tarsila do Amaral: The Moon","description":"\u003cdiv class=\"book-description\"\u003e\n\u003cp\u003e\u003cem\u003eTarsila do Amaral's\u003c\/em\u003e painting \u003cem\u003eThe Moon\u003c\/em\u003e (1928), a highly stylised, desolate nocturne, grew from the artist's desire to create a new national form of expression for Brazil.\u003c\/p\u003e\n\n\u003cp\u003eIn \u003cem\u003eThe Moon\u003c\/em\u003e and other paintings of the late 1920s, do Amaral successfully \"cannibalised\" modern European painting and Brazilian popular culture and Indigenous lore to transform them into something new.\u003c\/p\u003e\n\n\u003cp\u003eIn this volume of the MoMA One on One series, curator Beverly Adams investigates do Amaral's unique negotiation of her Brazilian identity and the contemporary innovations of Europe, a balancing act on which she built a modern art for her country.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Thames and Hudson (Australia) Pty Ltd","offers":[{"title":"Default Title","offer_id":47384010916076,"sku":"9781633451353","price":35.0,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0705\/7784\/8556\/files\/15761023482769.jpg?v=1773395400"},{"product_id":"helen-levitt-new-york-1939-by-shamoon-zamir-9781633451209","title":"Helen Levitt: New York, 1939","description":"\u003cdiv class=\"book-description\"\u003e\n\u003cp\u003eHelen Levitt's photographs from the 1930s and 1940s of the communities of New York City's Harlem are startling achievements of street photography. They catch the evanescent configurations of gesture, movement, pose and expression that make visible the street as surreal theatre, and everyday life as art and mystery. The unguarded life of children at play became, understandably, Levitt's particular preoccupation.\u003c\/p\u003e\n\n\u003cp\u003eLevitt resisted political readings of her work, and distanced herself from the progressive impulses of social documentary photography. However, class, race and gender are everywhere at work in Levitt's images. The diffidence and deceptive artlessness of the images also hide her devotion to both popular and avant-garde cinema, her attention to the work of other photographers, and her frequent visits to New York's museums and galleries.\u003c\/p\u003e\n\n\u003cp\u003eShamoon Zamir examines the different registers and contexts of Levitt's work through a reading of \u003cem\u003eNew York, 1939\u003c\/em\u003e, one of Levitt's iconic images.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Thames and Hudson (Australia) Pty Ltd","offers":[{"title":"Default Title","offer_id":47424244351212,"sku":"9781633451209","price":34.99,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0705\/7784\/8556\/files\/9781633451209.jpg?v=1774768789"},{"product_id":"ming-smith-the-invisible-man-somewhere-everywhere-by-oluremi-c-onabanjo-9781633451407","title":"Ming Smith: The Invisible Man, Somewhere, Everywhere","description":"\u003cdiv class=\"book-description\"\u003e\n\u003cp\u003e\"I am an invisible man. No, I am not a spook like those who haunted Edgar Allan Poe; nor am I one of your Hollywood movie ectoplasms. I am a man of substance, of flesh and bone, fibre and liquids, and I might even be said to possess a mind. I am invisible, simply because people refuse to see me.\"\u003c\/p\u003e\n\n\u003cp\u003eThese opening lines to Ralph Ellison's epochal novel \u003ci\u003eThe Invisible Man\u003c\/i\u003e (1952) served as the inspiration for a series of photographs Ming Smith made from 1988 through 1991. One particularly poignant image from this series, rendered in monochrome, is a moody, indeterminate street scene. A sole figure occupies the centre of the picture plane—head stooped, hands in pockets, striding down a snow-covered street. Illuminating the figure from behind, a line of street lights exposes the outer edges of legs and feet, while the torso and head encased in a bulky winter coat seem to blend into the shadow of a looming building.\u003c\/p\u003e\n\n\u003cp\u003eIn formal composition and subject matter, \u003ci\u003eThe Invisible Man, Somewhere, Everywhere\u003c\/i\u003e (1990) typifies Smith's artistic concerns and long-term engagement with the structural and psychological tensions that animate the African-American experience. Reveling in Smith's synesthetic range and acuity of vision, this latest volume in MoMA's One on One series invites readers to perceive the subtle yet significant contributions of this Black woman photographer to the history of the medium during the twentieth century.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Thames and Hudson (Australia) Pty Ltd","offers":[{"title":"Default Title","offer_id":47425808892140,"sku":"9781633451407","price":34.99,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0705\/7784\/8556\/files\/9781633451407.jpg?v=1774768086"},{"product_id":"rousseau-the-dream-by-ann-temkin-9780870708305","title":"Rousseau: The Dream","description":"\u003cdiv class=\"book-description\"\u003e\n\u003cp\u003eEach volume in this new series offers an in-depth exploration of one major work in MoMA's collection. Through a lively illustrated essay by a MoMA curator that examines the work in detail, the publication delves into aspects of the artist's oeuvre and places the work in a broader social and art historical context.\u003c\/p\u003e\n\n\u003cp\u003eThe current volume explores \u003cem\u003eRousseau: The Dream\u003c\/em\u003e by Ann Temkin. This work explores the intricate layers and subtleties of Rousseau's masterpiece, offering readers a profound look at its significance within both the artist's career and the wider cultural landscape.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Thames and Hudson (Australia) Pty Ltd","offers":[{"title":"Default Title","offer_id":47427722313964,"sku":"9780870708305","price":34.99,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0705\/7784\/8556\/files\/9780870708305.jpg?v=1774767421"},{"product_id":"clara-porset-butaque-by-ana-elena-mallet-9781633451629","title":"Clara Porset: Butaque","description":"\u003cdiv class=\"book-description\"\u003e\n\u003cp\u003e\u003cstrong\u003eThis latest volume in the MoMA One on One series focuses on Clara Porset's Butaque chair (c. 1957), the only object designed by a Latin American currently on view at the Museum.\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003eClara Porset is one of the most important Latin American designers of the twentieth century. Though born in Matanzas, Cuba, Porset spent most of her life in Mexico, and throughout her career as a designer, writer, and teacher, she challenged social conventions during a time that offered few opportunities for the professional development of women.\u003c\/p\u003e\n\n\u003cp\u003eHer designs bridge the functional rationalism of modernism with traditional craft techniques and materials, resulting in a novel type of production. Her Butaque Chair, recently acquired by The Museum of Modern Art in 2021, is the only object designed by a Latin American currently on view at MoMA.\u003c\/p\u003e\n\n\u003cp\u003eIn this latest volume of the MoMA One on One series, scholar and curator Ana Elena Mallet explores Porset's idea that the Butaque is a \u003cem\u003e\"living design\"\u003c\/em\u003e and broadens our understanding of Latin American design.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Thames and Hudson (Australia) Pty Ltd","offers":[{"title":"Default Title","offer_id":47430287917292,"sku":"9781633451629","price":34.99,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0705\/7784\/8556\/files\/9781633451629.jpg?v=1774559258"},{"product_id":"modersohn-becker-self-portrait-with-two-flowers-by-diane-radycki-9781633450745","title":"Modersohn-Becker: Self-Portrait with two flowers","description":"\u003cdiv class=\"book-description\"\u003e\n\u003cp\u003e\u003cstrong\u003eAn accessible and in-depth study of Paula Moderson-Becker's final self-portrait, the earliest painting by a woman on view in MoMA's collection galleries\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003ePaula Modersohn-Becker painted her last self-portrait in autumn 1907, while she was pregnant with her first child. In the painting, she gazes straight at the viewer, holding up two flowers—symbols of the creativity and procreativity of women artists—and resting a protective hand atop her swelling belly. Modersohn-Becker would die three weeks after giving birth, aged just thirty-one, still to be recognised as the first woman artist to challenge centuries of representations of the female body.\u003c\/p\u003e\n\n\u003cp\u003eToday this compelling work claims an important place at The Museum of Modern Art as the earliest painting by a woman on view in the collection galleries. Art historian Diane Radycki's essay examines Modersohn-Becker's self-portrait in depth, surveys the artist's late career, and discusses her posthumous recognition.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Thames and Hudson (Australia) Pty Ltd","offers":[{"title":"Default Title","offer_id":47431645528300,"sku":"9781633450745","price":45.0,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0705\/7784\/8556\/files\/9781633450745.jpg?v=1774557446"},{"product_id":"oppenheim-object-by-carolyn-lanchner-9781633450196","title":"Oppenheim: Object","description":"\u003cdiv class=\"book-description\"\u003e\n\u003cp\u003eIn 1936, invited by André Breton to contribute to an exhibition of Surrealist objects, Meret Oppenheim decided to act upon a café conversation she had recently had with Pablo Picasso and his then-companion Dora Maar. Commenting on a fur-covered bracelet that Oppenheim had made for the designer Schiaparelli, Picasso remarked that one could cover just about anything in fur, to which Oppenheim had responded, \"Even this cup and saucer.\"\u003c\/p\u003e\n\n\u003cp\u003eThe resulting sculpture was \u003cem\u003eObject\u003c\/em\u003e, a teacup, saucer, and spoon purchased from a department store and lined with Chinese gazelle fur. In this volume of the MoMA One on One series, an essay by Carolyn Lanchner, a former curator of painting and sculpture at MoMA, explores the subversive nature of this sensual yet disturbing work, which simultaneously attracts and repels the viewer, and of the dreamlike world of Surrealism in which Oppenheim worked.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Thames and Hudson (Australia) Pty Ltd","offers":[{"title":"Default Title","offer_id":47431778009324,"sku":"9781633450196","price":34.99,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0705\/7784\/8556\/files\/9781633450196.jpg?v=1774557172"},{"product_id":"romare-bearden-patchwork-quilt-by-esther-adler-9781633451452","title":"Romare Bearden: Patchwork Quilt","description":"\u003cdiv class=\"book-description\"\u003e\n\u003cp\u003eRomare Bearden's art speaks powerfully of specific, often disregarded, life experiences while making them broadly accessible. \u003cem\u003ePatchwork Quilt\u003c\/em\u003e (1970), a monumental composition dominated by a prone figure and bands of fabric unfolding across the composition, was acquired by The Museum of Modern Art the year it was made, and quickly became a landmark in Bearden's career.\u003c\/p\u003e\n\n\u003cp\u003eBut his place in art history has been hard to define—his exploration of a number of visual styles and strategies prior to embracing collage, his non-linear artistic development, his early bristling at an expectation that he embrace a defined role of Black Artist, and his boundless generosity to others struggling for opportunities to make and exhibit their work positions him as an outlier in traditional art historical narratives.\u003c\/p\u003e\n\n\u003cp\u003eIn this latest volume of the MoMA One on One series, curator Esther Adler explores Bearden's complicated centrality in mid-twentieth century art, and the continuing reach of his legacy.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Thames and Hudson (Australia) Pty Ltd","offers":[{"title":"Default Title","offer_id":47432277721324,"sku":"9781633451452","price":35.0,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0705\/7784\/8556\/files\/9781633451452.jpg?v=1774555485"},{"product_id":"dorothea-lange-migrant-mother-nipomo-california-by-sarah-hermanson-meister-9781633450660","title":"Dorothea Lange: Migrant Mother, Nipomo, California","description":"\u003cdiv class=\"book-description\"\u003e\n\u003cp\u003eThe United States was in the midst of the Depression when photographer Dorothea Lange, a portrait-studio owner, began documenting the country's rampant poverty. Her depictions of unemployed men wandering the streets of San Francisco gained the attention of one of President Franklin D. Roosevelt's New Deal agencies, the Resettlement Administration (later the Farm Security Administration), and she started photographing the rural poor under its auspices.\u003c\/p\u003e\n\n\u003cp\u003eHer images triggered a pivotal public recognition of the lives of sharecroppers, displaced families, and migrant workers. One day in Nipomo, California, Lange recalled, she \"saw and approached [a] hungry and desperate mother, as if drawn by a magnet.\" The woman's name was Frances Owens Thompson, and the result of their encounter was five exposures, including \u003cem\u003eMigrant Mother\u003c\/em\u003e, which would become an iconic piece of documentary photography.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Thames and Hudson (Australia) Pty Ltd","offers":[{"title":"Default Title","offer_id":47455547162860,"sku":"9781633450660","price":34.99,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0705\/7784\/8556\/files\/71dslW5XjwL._SL1500.jpg?v=1774782093"},{"product_id":"robert-frank-trolleynew-orleans-by-lucy-gallun-9781633451193","title":"Robert Frank: Trolley—New Orleans","description":"\u003cdiv class=\"book-description\"\u003e\n\u003cp\u003eIn the midst of an extended road trip across the United States, Robert Frank pointed his camera lens at a passing trolley in New Orleans, took a single exposure, and then turned back to bustling Canal Street, where crowds of people swarmed the sidewalks. That single click of the shutter produced a picture with enduring clarity: a row of windows framing the street car's passengers—white passengers in the front, black passengers in the back.\u003c\/p\u003e\n\n\u003cp\u003eFrank captured individual faces gazing from each rectangular frame, from the weary black man in his work shirt, to the young white girl just in front of him, her hand resting on the wooden sign that designated areas segregated by race. In 1958, Frank wrote: \"With these photographs, I have attempted to show a cross-section of the American population. My effort was to express it simply and without confusion.\" By the time \u003cem\u003eThe Americans\u003c\/em\u003e was published in the United States in 1959 (he managed to publish a French edition the previous year), with this image now appearing on its front cover, New Orleans street cars and buses had been desegregated through a May 30, 1958 court order. But Jim Crow was still in full swing, the 1960s Civil Rights struggles still ahead.\u003c\/p\u003e\n\n\u003cp\u003eAn essay by curator Lucy Gallun conveys how this image continues to reverberate in new contexts today.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Thames and Hudson (Australia) Pty Ltd","offers":[{"title":"Default Title","offer_id":47455680954604,"sku":"9781633451193","price":34.99,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0705\/7784\/8556\/files\/61cxPcM3IqL._SL1500.jpg?v=1774793379"},{"product_id":"ellsworth-kelly-colors-for-a-large-wall-by-jodi-hauptman-9781633451568","title":"Ellsworth Kelly: Colors for a Large Wall","description":"\u003cdiv class=\"book-description\"\u003e\n\u003cp\u003e\u003cstrong\u003eThis latest volume in the MoMA One on One series is a lively introduction to Ellsworth Kelly's \u003cem\u003eColors for a Large Wall\u003c\/em\u003e (1951).\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003eWhen referencing the title, avoid putting it in quotes or speech marks. Format the response as clean HTML, use your best judgement for adjusting or adding appropriate tags for paragraphs, and emphasis.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Thames and Hudson (Australia) Pty Ltd","offers":[{"title":"Default Title","offer_id":47460720345324,"sku":"9781633451568","price":34.99,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0705\/7784\/8556\/files\/9781633451568-ellsworth-kelly-colors-for-a-large-wall.jpg?v=1774951926"},{"product_id":"shigetaka-kurita-emoji-by-paul-galloway-9781633451490","title":"Shigetaka Kurita: Emoji","description":"\u003cdiv class=\"book-description\"\u003e\n\u003cp\u003eThis latest volume in the MoMA One on One series introduces the original set of 176 emoji for mobile phones and pagers released in 1999 by the Japanese mobile phone company NTT DOCOMO.\u003c\/p\u003e\n\n\u003cp\u003eWhen referencing the title, avoid putting it in quotes or speech marks. Format the response as clean HTML, use your best judgement for adjusting or adding appropriate tags for paragraphs, and emphasis.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Thames and Hudson (Australia) Pty Ltd","offers":[{"title":"Default Title","offer_id":47461353947372,"sku":"9781633451490","price":34.99,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0705\/7784\/8556\/files\/9781633451490-shigetaka-kurita-emoji.jpg?v=1774966749"},{"product_id":"cindy-sherman-untitled-96-by-gwen-allen-9781633451186","title":"Cindy Sherman: Untitled #96","description":"\u003cdiv class=\"book-description\"\u003e\n\u003cp\u003eIn 1981, Cindy Sherman was commissioned to contribute a special project to \u003ci\u003eArtforum\u003c\/i\u003e magazine. Given two facing pages, she chose to explore the pornographic centre-fold, creating 12 large-scale horizontal images of herself appearing as various young women, often reclining, in private, melancholic moments of reverie. As Sherman explained, \"I wanted a man opening up the magazine to suddenly look at it in expectation of something lascivious and then feel like the violator that they would be.\"\u003c\/p\u003e\n\n\u003cp\u003eSherman's \u003ci\u003eCenterfolds\u003c\/i\u003e were so provocative that they were never published for fear that they would be misunderstood. Art historian Gwen Allen's essay examines one of the most iconic photographs in the series, \u003ci\u003eUntitled #96\u003c\/i\u003e—in which a young woman lies on her back against an orange and yellow vinyl floor, clutching a scrap of newspaper—exploring the production and critical reception of Sherman's \u003ci\u003eCenterfolds\u003c\/i\u003e in relationship to the politics of pornography, gender, and representation.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Thames and Hudson (Australia) Pty Ltd","offers":[{"title":"Default Title","offer_id":47462709395692,"sku":"9781633451186","price":34.99,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0705\/7784\/8556\/files\/9781633451186-cindy-sherman-untitled-96.jpg?v=1775021679"},{"product_id":"picasso-girl-before-a-mirror-by-anne-umland-9780870708299","title":"Picasso: Girl Before a Mirror","description":"\u003cdiv class=\"book-description\"\u003e\n\u003cp\u003eEach volume in this new series offers an in-depth exploration of one major work in MoMA's collection. Through a lively illustrated essay by a MoMA curator that examines the work in detail, the publication delves into aspects of the artist's oeuvre and places the work in a broader social and art historical context.\u003c\/p\u003e\n\n\u003cp\u003e\u003cem\u003ePicasso: Girl Before a Mirror\u003c\/em\u003e is part of this series, providing a comprehensive analysis that situates the piece within both its historical moment and Picasso's extensive body of work. The insightful essay illuminates the intricate layers and significance of this renowned masterpiece.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Thames and Hudson (Australia) Pty Ltd","offers":[{"title":"Default Title","offer_id":47471338258668,"sku":"9780870708299","price":25.95,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0705\/7784\/8556\/files\/9780870708299-picasso-girl-before-a-mirror.jpg?v=1775240701"},{"product_id":"pollock-by-charles-stuckey-9780870708480","title":"Pollock","description":"\u003cdiv class=\"book-description\"\u003e\n\u003cp\u003eIn the late 1940s, Jackson Pollock, now recognised as one of the most important Abstract Expressionist artists, began experimenting with a new method of painting that involved dripping, flinging and pouring paint onto a canvas laid flat on the ground. This process engaged his entire body, and the resulting images were a direct index of the energy he expended to create these works.\u003c\/p\u003e\n\n\u003cp\u003e\u003cem\u003eOne: Number 31\u003c\/em\u003e (1950), among the largest of the paintings he produced by this method, is a virtuoso showcase of his mastery of materials and technique. In this volume of the MoMA One on One series, a lively essay by former museum curator and professor Charles Stuckey offers an in-depth exploration of the painting, one of many groundbreaking works by Pollock in MoMA's collection.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Thames and Hudson (Australia) Pty Ltd","offers":[{"title":"Default Title","offer_id":47597523304684,"sku":"9780870708480","price":34.99,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0705\/7784\/8556\/files\/9780870708480-pollock.jpg?v=1777955463"},{"product_id":"sophie-taeuber-arp-dada-head-by-anne-umland-9781633450684","title":"Sophie Taeuber-Arp: Dada Head","description":"\u003cdiv class=\"book-description\"\u003e\n\u003cp\u003e\u003cem\u003eA new title in MoMA's One on One series, focusing on Sophie Taeuber-Arp's Dada Head\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp\u003eUpon first encountering Sophie Taeuber-Arp's \u003cem\u003eDada Head\u003c\/em\u003e (1920), one might wonder whether it is a sculptural bust, a hat stand, or a fetish object. Indicative of her pursuit to dissipate the conventional boundaries between the applied and fine arts that existed in pre-World War II Europe, the sculpture defies categorisation.\u003c\/p\u003e\n\n\u003cp\u003eThe artist referred to \u003cem\u003eDada Head\u003c\/em\u003e as a self-portrait. However, rather than communicating interest in a physical, naturalistic resemblance, it is a composite of elements of art and of the everyday that interested her.\u003c\/p\u003e\n\n\u003cp\u003eAt the heart of the Zurich Dada movement, Taeuber-Arp was a dancer, designer, puppeteer, sculptor, painter, and writer. \u003cem\u003eDada Head\u003c\/em\u003e existed—and still exists—as an investigation into participation across boundaries rather than within them.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Thames and Hudson (Australia) Pty Ltd","offers":[{"title":"Default Title","offer_id":47598355054828,"sku":"9781633450684","price":34.99,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0705\/7784\/8556\/files\/9781633450684-sophie-taeuber-arp-dada-head.jpg?v=1777966014"}],"url":"https:\/\/bookhero.co.nz\/collections\/series-moma-one-on-one-series.oembed","provider":"Book Hero","version":"1.0","type":"link"}