[by] Alexander Alland; introduction by Pearl S. Buck.
New York, The John Day Company 
158 p. incl. plates. 24 cm.
E184 .A1 A47 1943 ARTLCKS
Alland, a Russian immigrant, was one of the foremost leftist documentary photographers of the 1940s. This book presents a series of photo essays, along with minimal, first-person text, documenting the varied lives of Americans of sixty different national origins. The photos and text, which are loosely arranged into categories exploring such themes as family life, religion, and national service, emphasize the common ground that can be found among seemingly different people. The text, as well as the introduction by Nobel Prize-winning novelist Pearl S. Buck, emphasizes the necessity of national unity in resistance to fascism. Published as it was during the height of World War II, the book has strong propagandistic overtones. It is also an example of the trend of left-leaning Americans fervently supporting the war effort because they saw fascism as the true threat to liberty and social justice in the world. For a deeper exploration of Alland’s photographs, see the exhibition catalog The Committed Eye: Alexander Alland’s Photography.
[Calif.?] : Ruscha, c1970.
 leaves of plates : all ill. ; 19 cm.
N7433.4 .R951 B11 1970 ARTLCKS
Ed Ruscha, often identified with both the Pop and Conceptual movements, is seen as a pioneer of a particular form of artist's book, mechanically produced in relatively large numbers and therefore accessible to many. This book, which consists of small, snapshot-like photographs and minimal text, may be seen as a kind of playful reimagining of the documentary tradition exemplified by Walker Evans. The first page of the book is a photograph of an infant with the weight “15 lbs. 8 oz.” printed below it. The following twenty-two pages depict varying cakes, also with their weights printed below them. The cakes range from the mundane to the extraordinary, from homemade birthday cakes to professional wedding cakes, with a number of them being pre-packaged snack cakes like those one would purchase in a convenience store. The title, which is simultaneously punning and drily accurate, perfectly encapsulates Ruscha’s playfulness. For a further exploration of Ruscha’s works, which often incorporate verbal elements and puns, see the catalog for the 2000 exhibition Ed Ruscha.
3 linear ft. (310 items)
Special Collections Manuscript Collection M0690
Blackface minstrelsy was one of the most popular and enduring musical and performance genres in the United States from before the Civil War to after World War II. Usually performed by white men who had darkened their faces with burnt cork, minstrel shows presented a buffoonish and cartoonish racial caricature of African American physiognomy and behavior. It served as one of the primary cultural bulwarks of the Jim Crow period, contributing to negative white perceptions of black people for over a century. One of the most notable features of this art form was its sheet music, which often featured lavishly illustrated and lithographed caricatures of African Americans as part of the cover art. This collection, the finding aid for which can be found online, presents an overview of how these caricatures were drawn over nearly a hundred years, offering a glimpse into the changing, yet eternal, nature of these representations. For the definitive account of blackface minstrelsy and its relation to American culture, see Eric Lott’s Love and Theft.
by Kara Elizabeth Walker ; [pop-up design by David Eisen ; text designed by Timothy Silverlake].
[Pasadena, Calif. : Typecraft], c1997.
 p. : ill. ; 23 cm.
PS3573 .A425345 F74 1997 ARTLCKS
This book is the 1997 entry in the Peter Norton Christmas Project, an effort by noted collector Peter Norton to substitute the annual tradition of Christmas cards with an actual piece of work by a living artist. Walker is most known for her works of large silhouette cutouts depicting events from black folklore and history. This work represents an adaptation of those works, as it presents “A Curious Interpretation of the Wit of a Negress in Troubled Times” through a pop-up book that borrows her silhouette aesthetic, though now represented in three dimensions. Like many of Walker’s works this book touches on themes of slavery, freedom, race, and sexuality. For a more general exploration of Walker’s work, see Gwendolyn Dubois Shaw’s Seeing the Unspeakable: The Art of Kara Walker.
by Herman Melville, illustrated by Rockwell Kent.
Chicago, The Lakeside press, 1930.
3 v. illus., plates. 30 cm.
Special Collections Rare Books 71 07673
This one-thousand-copy limited edition combines one of the classics of nineteenth-century American literature with one of the foremost illustrators of the early twentieth. Kent, a painter, illustrator, and printmaker, was commissioned to illustrate Moby Dick just as it was regaining its popularity after over half a century of oblivion, and this edition is often credited with helping to revive the book’s popularity. Melville’s sprawling Romantic novel of good and evil, sin and redemption, became increasingly popular with modernists, who were attracted to its kaleidoscopic, freewheeling, and experimental character. Kent’s spare, angular, and black-and-white style thus contrasts with as well as complements Melville’s prose. Stanford Libraries’ Special Collections possesses a wide variety of other works written and/or illustrated by Rockwell Kent.
[New York] : Johnson Reprint Corp., 1982.
 p. : chiefly ill. ; 16 x 34 cm.
NC139.P6 A4 1982 F ARTLCKM
This book is a facsimile reproduction, one of 525 made, of a bound Japanese mulberry paper notebook that Pollock used from 1950-53. During much of this time Pollock mostly used the book as a jotting pad located next to his telephone. The later pages of the book, however, transition to a sketchbook whose images and ideas that bear close relation to much of his more finished work of the period. The abstract shapes in monochromatic black are especially reminiscent of a series of ink drawings on Japanese paper that Pollock executed around the same time. In his mature career Pollock generally did not use sketchbooks, so this item’s existence is relatively unique. The last few years of his life, as his celebrity and alcoholism began increasingly to weigh on him, saw relatively little artistic production. An excellent, separately bound, introduction by William S. Lieberman presents a thoughtful elucidation of the book’s content. See also The Jackson Pollock Sketchbooks in the Metropolitan Museum of Art, a collection of three facsimiles, also in the Locked Stacks. For a scholarly evaluation of Pollock’s career, see the exhibition catalog Jackson Pollock.
Frank Lloyd Wright.
New York, Horizon Press, 1954.
223 p. illus., port., plans. 26 cm.
NA7208 .W68 ARTLCKS
This book by perhaps America’s best-known architect presents the philosophy and design tenets underlying the organic architecture which Wright popularized and for which he became famous. These include a greater integration of building with landscape, a more human-scaled construction, and a holistic approach to architecture that includes design and interior decoration in the overall plan. The book is replete with images, including both technical drawings as well as photographs of many of Wright’s buildings. The Art Library also holds a compilation of his drawings, Selected Drawings Portfolio.
[New York?] : Buffalo Press, 1973.
 p. : all ill. (chiefly col.) ; 26 cm.
N6537 .M43 A4 1973 ARTLCKS
Gordon Matta-Clark (1943-1978) is best known for his artistic practice of carving existing buildings during the period 1972-1978. Using a chain saw, Matta-Clark treated vacant buildings as raw, sculptural material. Influenced by the land art of Robert Smithson, Matta-Clark cut into and through buildings in an urban-based sculptural practice, calling his interventions “Anarchitecture.” He documented the cuttings in films and photographs which he subsequently exhibited in galleries, occasionally with fragments from the buildings themselves. In a series of “cut drawings” (1972–6) he developed his idea of the cut as a technique. Walls Paper functions in a similar vein. Based on a series of colored photographs of peeling wallpaper from abandoned buildings, Matta-Clark cut each page in half horizontally. Maintaining their top/bottom orientation, he staple-bound the split pages in two sections, the top halves composing the top half of the book, and the bottom halves the bottom portion. One can flip through the top half and the bottom half of the book simultaneously, or vary the flipping to create new combinations between the top and bottom portions. For more information on Matta-Clark, see the catalog Gordon Matta-Clark, A Retrospective. See also his iconic work Splitting.
[Philadelphia? s. n., 1909]
55, , 6,  p. illus. (incl. ports.) 20 cm.
E77 .W24 ARTLCKS
This volume is a unique combination of mythology, ethnography, and advertising. The result of one of a series of expeditions to study Native American reservation life sponsored by Rodman Wanamaker, heir to the department store fortune, it presents a history of American Indians as well as ethnographic accounts of their current lives. The first section, on the history of Native Americans, transmits many of the common myths about white-native interactions. Like many contemporary ethnographic accounts, it presents a nostalgic picture of a noble yet savage, static, and dying race. This description is accompanied by reproductions of ethnographic photographs of individuals as well as everyday life. The most unique part of the volume is a section on the filming of a live-action version of Henry Wadsworth Longfellow’s The Song of Hiawatha. For an astute scholarly analysis of the cultural forces surrounding this and other items, see Elizabeth Hutchinson’s The Indian Craze: Primitivism, Modernism, and Transculturation in American Art, 1890-1915.