Jacques and Jacqueline Groag, Architect and Designer: Two Hidden Figures of the Viennese Modern Movement by Ursula Prokop; translated by Laura McGuire and Jonee Tiedemann; edited by Laura McGuire
Prokop’s meticulously researched history restores Jacques and Jacqueline Groag to their rightful places in the pantheon of Viennese Modernists. The couple studied and worked within a circle of notables including Ludwig Wittgenstein, Adolf Loos, Paul Engelmann, Josef Hoffmann and Franz Čižek. Beginning with the Groags’ early collaborations in the 1930’s to their lives as Jewish émigrés after the Anschluss, Prokop explores the couple’s unique aesthetic contributions in pre-Reich Vienna and Czechoslovakia as well as later in Britain for postwar exhibitions, monuments, furniture and textile design.
A Stranger at My Table: The postcolonial story of a family caught in the half-life of empires by Ivo de Figueiredo; translated by Deborah Dawkin
Ivo de Figueiredo’s lyrical and imagistic prose navigates a difficult search for family origins and his estranged father in a remarkable, sensitive book. Figueiredo traces his father’s Goan family in the diaspora and shows us that the hybrid cultures and tragedies specific to inter-ethnic and multi-racial families bear latent gifts for literature and culture when treated with openness, bravery and the curiosity of a scholar. Figueiredo is the critically-acclaimed biographer of Norway’s treasured cultural icon, Henrik Ibsen (forthcoming in English with Yale University Press, 2019), and his next book is the official biography of Edvard Munch, commissioned by the Munch Foundation. In 2002, He was awarded the Brage Prize for a biography of Johan Bernhard Hjort, and A Stranger at My Table received one of the highest non-fiction honors in Norway, the 2016 Language Prize.
A surprising and revealing memoir populated with art historians, art influencers, and the former lover of Marcel Duchamp, Beatrice Wood. Distinguished author and expert on Dada and Duchamp, Francis M. Naumann’s close friendship with Wood, who was many decades his senior, continued until the end of her life at age 105. She not only set Naumann upon a course of original research that would define him, but also provided a moral platform and an artist’s view on what an art historian could or should be. One among many lessons learned in this story is how the individuals we know and admire most in life can serve to shape our future, molding us—consciously or unconsciously—into the people we inexorably become.
“Naumann shows that mentorship, when it’s done right, is itself a work of art.” – Calvin Tomkins
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