Yve-Alain Bois, Professor in the
School of Historical Studies, has coauthored Amy Sillman: The
ALL-OVER (Dancing Foxes Press/Portikus, 2017), a comprehensive
overview of artist Amy Sillman's most recent bodies of work,
including painting and...
Yve-Alain Bois, Professor in the
School of Historical Studies, and Ben Eastham have authored
Ed Ruscha: Extremes and In-betweens
(Rizzoli, September 2017), which distills the archetypal signs and
symbols of the American vernacular into typographic...
In this public lecture, held at the Institute on May 5, 2017,
Yve-Alain Bois, Professor in the School of Historical Studies,
focuses on Matisse's use of the bamboo stick in large-scale works
and the bodily conception of scale it entails. In a...
The Museum of Modern Art has published Robert
Rauschenberg, a catalogue of short essays by eminent scholars,
including Professor Yve-Alain Bois,
and emerging new writers focus on specific moments throughout
Rauschenberg’s career exploring his...
Les Presses du Reel has published La Peinture comme
Modèle, a new French edition of Painting as Model
(MIT Press, 1990) by Yve-Alain Bois,
Professor in the School of Historical Studies, a collection of
essays that seek to redefine the status of...
Matisse gave two separate accounts of the moment at which he
began work on the first version of The Dance, each of them
emphasizing the immensity of the surface he had to master, “to
possess,” as he put it. In the first version, it is an...
Pablo Picasso did not speak often about abstraction, but when he
did, it was either to dismiss it as complacent decoration or to
declare its very notion an oxymoron. The root of this hostility is
to be found in the impasse that the artist reached in...
Thames & Hudson has published Matisse in the Barnes
Foundation edited by Yve-Alain Bois,
Professor in the School of Historical Studies. The Barnes
Foundation's Matisse collection, comprised of fifty-nine works from
every stage of the artist’s career...
Anyone leafing through the pages of this volume cannot but
be struck not only by the pace at which the artist’s production
evolved during this early period of his career but also by its
diversity—with the exception perhaps of the paintings
he...
“When Paul Cézanne wants to speak ... he says with his picture
what words could only falsify.” In The Voices of Silence
(1951), French author and statesman André Malraux expressed his
view that the Post-Impressionist painter could only “speak”
with...
