Explore the vast range of titles available.

Fluorination of organoboronic ester adducts via B ← N coordination enables the formation of photoactive solids capable of [2 + 2]‐photodimerization, or confinement of a hydrocarbon guest (i.e., benzene). Specifically, self‐assembly of organoboronic acids with varying levels and patterns of fluorination with catechol and 4‐stilbazole resulted in T‐shaped B ← N adducts, that organize into either photoactive dimeric assemblies (2,4‐ and 3,5‐difluorophenlboronic acids) or photostable architectures that encapsulate benzene (2,4,6‐trifluorophenylboronic and 2,3,5,6‐tetrafluorophenylboronic acids). Combined crystallographic analysis, molecular modeling, and Hirshfeld surface analysis revealed the formation of photoactive adducts with up to two fluorine atoms to be driven by enhanced face‐to‐face [π…π] stacking aided by [CH…π] contacts, while [CH…F], [CH…O], and [CH…π] contacts in adducts with higher fluorination level sustained the inclusion of benzene molecules in the lattice. These findings support fluorination of organoboron systems as an effective strategy for property engineering in molecular materials. Fluorination of organoboronic ester B ← N adducts enables either photoactive solids ([2 + 2]‐photodimerization) or confinement of benzene. Specifically, self‐assembly with 2,4‐ and 3,5‐difluorophenlboronic acids affords photoactive solids, while 2,4,6‐trifluorophenylboronic and 2,3,5,6‐tetrafluorophenylboronic acids enable benzene confinement. Property engineering is facilitated by [π…π], [CH…F], and [CH…π] contacts.

The Guggenheim Reader Series: Modern Asian Art is the second installment in an ongoing series collecting out-of-print and hard-to-find essays from past Guggenheim publications and lectures to illuminate focused topics in art history. Much like last fall's Russia reader, Modern Asian Art examines five decades of the museum's interest in the region, culminating in this spring's simultaneous presentation of four separate exhibitions on Asian art in the Guggenheim's New York location. Contributors include Edward Fry, Francesco Bonami, Alexandra Munroe, Hans-Ulrich Obrist, and Gordon Washburn.

In January of this year, the exhibition The Third Mind: American Artists Contemplate Asia, 1860-1989 opened at the Guggenheim Museum in New York. This ambitious exhibition is one of several recent projects aimed at rethinking modernism, in this case by tracing the complex relations between American artists and Asian philosophical traditions and cultural forms. We invited five scholars to engage in a critical conversation probing the issues raised by the exhibition, using its historically framed bias toward Japan as a starting point. Seth McCormick facilitated the discussion with Reiko Tomii. Alexandra Munroe, the curator of the exhibition, generously provided a response.

Discusses the work of America's greatest Asian art dealer Robert Hatfield Ellsworth (1929-2014), considered the preeminent force behind the growth of the Asian art market in the United States from the mid-1960s until his death in 2014. Alexandra Munroe traces the history of Ellsworth's development in the art market from a personal perspective, outlining his influence, and highlighting his most important contributions to the growth of the Asian art market in the U.S.

[...] these kinds of responses, the public and the professional, are two very different things, because I see exhibitions in terms of two rather separate authences: one is the museum, curatorial, and scholarly community, and the other is the members of the general public, who are encountering a topic they may have no knowledge about whatsoever. My colleagues raise concern that there is an \"almost complete lack of attention to the cold- war context in the exhibition\" and more broadly, a bias toward Japan over China, Korea, and India. [...] Vivien Green's mention of theTranscendentalists, Samuel Johnson, Sir Edwin Arnold, and Lafcadio Hearn, among others, in Section 1.

This dissertation of avant-garde art in postwar Japan is based upon a previous publication by the author titled Japanese Art After 1945: Scream Against the Sky (New York: Harry N. Abrams, 1994). Focusing on key art movements and artists' groups which defined postwar discourses on radical critique, this history charts the intellectual, aesthetic, and stylistic developments of avant-garde art in Japan from circa 1951 to 1970, a period defined by the leftist struggle against the renewal of the U.S.-Japan Security Treaty, known as Anpo. Both American and Japanese historians have studied the sociopolitical debates that mark the postwar period. What is less well-known is the history of new artistic forms and practices that emerged from this era of unprecedented upheaval, and how radical artists' strategies underscored and reworked the leftist discourses on democratic revolution, political subjectivity, and cultural anarchism. This study examines the avant-garde within the broader context of postwar Japanese social, political, and cultural history, focusing on its vigorous critique of the ruling ideologies of modernization and its opposition to institutionalized culture and politics. This dissertation originated as an art historical research topic and certain formalist modes of stylistic analysis and aesthetic interpretation prevail. Among the questions explored here are: How can national characteristics of modern art be defined within a global discourse of modernity and modernism? If originality is the crux of the modernist adventure, how do we interpret this work within the framework of the modernist discourse? Drawing on extensive primary sources and interviews, this dissertation aims to construct the first history in English of the following art movements: Gutai Art Association, Bokujin-kai and Sodeisha, the Yomiuri Indépendant's Anti-Art groups, Obsessional Art and Ankoku Butoh dance, VIVO and the Postwar School of Photography, Tokyo Fluxus and Conceptual Art, and the Mono-ha movement. The Introduction describes the Anpo movement, whose periodization defines this study; reviews the Taisho and Showa prehistory of the Japanese avant-garde; explores the discourse on cultural autonomy in modern Japanese intellectual debates; and offers a theoretical framework for defining the terminology of “radical critique.” The Conclusion reviews the contradictions inherent in the Japanese avant-garde's embrace of leftist cultural critiques, and identifies problematic issues of historicizing zen'ei (avant-garde) and gendai (contemporary) art.