Books like Pomfret Towers

I absolutely love the Pre-Raphaelites, they are my utter passion and these books are the fuel for that fire. Who wouldn't want to be a Pre-Raphaelite woman? Smart, talented, resourceful, these women define what it is to make a mark and great some of the most ground-breaking art in history. I'm particularly obsessed with Pre-Raphaelite women, the artists and muses who created the art we love so much today. After spending almost 30 years researching their lives and loves, it's now my absolute pleasure in telling everyone about these astonishing women, and why we should love them and learn from them.

I am a professor of International Studies and a former museum curator. This combination provides me with a unique perspective not only on the inner workings of the art world, but the way that those practices map on to broader social, political, and economic transformations that occur as a result of globalization. This leads me, for example, to an assessment of how free-trade zones affect the art market. In past research, I have focused on colonialism and French art in the nineteenth century, so I am attuned to power imbalances between the center and the periphery and I am fascinated to see how these are shifting in the present.

Art, technology, and science…I have been seamlessly traversing domains all my life. I grew up with twin interests in physical sciences and visual arts, finding beauty in math and art and seeing creativity as being one thing rather than something living in compartments. Art influenced my research in chaos and complexity, and blurring boundaries characterized my work as dean of engineering when creating educational/research initiatives in design, art, entrepreneurship, energy, and sustainability. I also received visible external recognition as a Guggenheim Fellow and member of both the National Academy of Engineering and the National Academy of Sciences, as well as the American Academy of Arts and Sciences.

I have been professionally involved with contemporary art since the 1980s, when I was a curator at the Institute of Contemporary Art in Boston. In the forty years since I've seen an enormous shift in the orientation of American curators and scholars from Western art to a global perspective. After earning my PhD at Harvard, and writing several books on contemporary art, I wanted to tackle the challenge of a truly comparative contemporary art history. To do so, I've depended on the burgeoning scholarship from a new more diverse generation of art historians, as well as on many decades of travel and research. My book Heritage and Debt is an attempt to synthesize that knowledge. 

Having written several books on cultural history, I was puzzled in the late 1990s by the insistence of most American curators, art historians, and gallerists that there could not possibly be any spiritual content in modern art because the modern project (beginning, they assert, with the first Impressionist exhibition in 1874) was all about the rejection of tradition, religion, etc. This overarching narrative has dominated the professional art world since World War II. I knew it was false because I was aware that many prominent modern artists had spiritual interests, which were expressed in their art. So began a 17-year-long research quest focused on what the artists themselves had said.

I make prints and visual books. I founded Bridge Press, now in Kennebunk, Maine, 1989 to publish limited edition artist's books and etchings. The name of the press underscores the collaborative nature of book making. Visual books offered possibilities for the continuity, connection, and unfolding of images—each image is complete yet linked to every other through the structure of the book. Books seemed an ideal vehicle to assemble and connect my prints, to order and unfold a sequence of images, with defined and recurrent shapes, motifs, and composition, and to create a setting in which each image is complete yet linked to every other through the structure of the binding or enclosure.

Having written several books on cultural history, I was puzzled in the late 1990s by the insistence of most American curators, art historians, and gallerists that there could not possibly be any spiritual content in modern art because the modern project (beginning, they assert, with the first Impressionist exhibition in 1874) was all about the rejection of tradition, religion, etc. This overarching narrative has dominated the professional art world since World War II. I knew it was false because I was aware that many prominent modern artists had spiritual interests, which were expressed in their art. So began a 17-year-long research quest focused on what the artists themselves had said.

Having written several books on cultural history, I was puzzled in the late 1990s by the insistence of most American curators, art historians, and gallerists that there could not possibly be any spiritual content in modern art because the modern project (beginning, they assert, with the first Impressionist exhibition in 1874) was all about the rejection of tradition, religion, etc. This overarching narrative has dominated the professional art world since World War II. I knew it was false because I was aware that many prominent modern artists had spiritual interests, which were expressed in their art. So began a 17-year-long research quest focused on what the artists themselves had said.

Having written several books on cultural history, I was puzzled in the late 1990s by the insistence of most American curators, art historians, and gallerists that there could not possibly be any spiritual content in modern art because the modern project (beginning, they assert, with the first Impressionist exhibition in 1874) was all about the rejection of tradition, religion, etc. This overarching narrative has dominated the professional art world since World War II. I knew it was false because I was aware that many prominent modern artists had spiritual interests, which were expressed in their art. So began a 17-year-long research quest focused on what the artists themselves had said.

William J. Buxton is Distinguished Professor Emeritus of Communication Studies and Senior Fellow, Centre for Sensory Studies, at Concordia University Montreal, Qc, Canada. He is also professeur associé au Département d’information et de communication de l’Université Laval, Québec City, Québec, Canada. He has edited and co-edited five books related to the life and works of the Canadian political economist and media theorist, Harold Adams Innis.