Getty Trust Publications

Why do people wear jewelry? What meaning does it hold for the wearer? And what does the wearer hope it will convey to those they encounter-or to someone viewing their image decades, even centuries, later? Artistic renderings of the human figure-in portraiture, sculpture, and other media-in a range of allegorical, historical, and religious images often showcase jewelry. The ornaments depicted in such designs offer an abundance of information that not only heightens our understanding of the subject but also provides insights into the imagination of the artist. Jewelry enhances our enjoyment of works of art because it is visually compelling, sensuous, and laden with an array of associations and symbolic meanings. Bringing together spectacular and significant art objects depicting figures wearing sumptuous personal adornments that define who they are within the specific milieus in which they lived, this richly illustrated and accessible volume represents a novel, interdisciplinary approach to the ways in which jewelry can be studied and understood. Beyond Adornment takes the reader on a captivating journeythrough time and across cultures worldwide, reflecting on the fundamental humandesire to wear jewelry. A wide array of fascinating jewels from the ordinary tothe extraordinary give insight into the personal lives and public faces ofindividual wearers, revealing how jewelry has accompanied us from the cradle tothe grave. A stunning selection of sculptures and portraits bring the subjectto life, showing how jewelry is more than simply adornment.-BeatrizChadour-Sampson, jewelry historian, author, curator and lecturer

This collection of ten case studies addresses the unique challenges surrounding the improvement of energy consumption and thermal comfort in modern buildings built between 1931 and 1969 and offers valuable lessons for other structures facing similar issues. These buildings, international in scope and diverse in type, style, and size, range from the Shulman House, a small residence in Los Angeles, to the TD Bank Tower, a skyscraper complex in Toronto, and from the Calouste Gulbenkian Foundation, a cultural venue in Lisbon, to the Van Nelle Factory in Rotterdam, now an office building. Showing ingenuity and sensitivity, the case studies consider improvements to such systems as heating, cooling, lighting, ventilation, and controls. They provide examples that demonstrate best practices in conservation and show ways to reduce carbon footprints, minimize impacts to historic materials and features, and introduce renewable energy sources, in compliance with energy codes and green-building rating systems. The Conserving Modern Heritage series, launched in 2019, is written by architects, engineers, conservators, scholars, and allied professionals. The books in this series provide well-vetted cased studies that address the challenges of conserving twentieth century heritage. "

Over the last two decades, the encyclopedic museum has been criticized and praised, constantly discussed, and often in the news. Encyclopedic museums are a phenomenon of Europe and the United States, and their locations and mostly Eurocentric collections have in more recent years drawn attention to what many see as bias. Debates on provenance in general, cultural origins, and restitutions of African heritage have exerted pressure on encyclopedic museums, and indeed on all matter of museums. Is there still a place for an institution dedicated to gathering, preserving, and showcasing all the world's cultures? Donatien Grau's conversations with international arts officials, museum leaders, artists, architects, and journalists go beyond the history of the encyclopedic format and the last decades' issues that have burdened existing institutions. Are encyclopedic museums still relevant? What can they contribute when the Internet now seems to offer the greater encyclopedia? How important is it for us to have in-person access to objects from all over the world that can directly articulate something to us about humanity? The fresh ideas and nuances of new voices on the core principles important to museums in Dakar, Abu Dhabi, and Mumbai complement some of the world's arts leaders from European and American institutions-resulting in some revealing and unexpected answers. Every interviewee offers differing views, making for exciting, stimulating reading.

Many graffiti artists carry sketchbooks, called black books, and they ask crew members and others whose work they admire to inscribe their books with lettering or drawings. A few years ago, the Getty Research Institute invited artists, including Angst, Axis, Big Sleeps, Chaz, Cre8, Defer, EyeOne, Fishe, Heaven, Hyde, Look, ManOne, and Prime, to consider the idea of a citywide graffiti black book. During visits to the Getty Center, the artists viewed rare books related to calligraphy and letterforms, including works by Albrecht Durer and Leonardo da Vinci. The artists instantly recognized the connections to their own practices and were particularly drawn to a liber amicorum (book of friends), a form of autograph book popular in the seventeenth century. Passed from hand to hand, it was filled with signatures, poetry, and coats of arms, like a black book from another era. Inspired by this meeting of minds across centuries, these artists became both creators and curators, crafting their own pages and inviting others to contribute. Eventually 150 Los Angeles artists decorated 143 individual pages. These were bound together into an exquisite artists' book that became known as the Getty Graffiti Black Book. This publication reproduces each page from the original artists' book and recounts the story of an unprecedented collaboration across the diverse artistic landscape of Los Angeles.