At a time when surfing is more popular than ever, it's fitting to look back at the years that brought the sport into the mainstream. Developed by Hawaiian Islanders over five centuries ago, surfing began to peak on the mainland in the 1950s-becoming not just a sport, but a way of life, admired and exported across the globe. One of the key image-makers from that period is LeRoy Grannis, a surfer since 1931, who began photographing the longboard era of the early 1960s in both California and Hawaii. This edition brings back Grannis's hair-raising, sold-out Collector's Edition, curated from the photographer's personal archives, to showcase his most vibrant work in a compact and affordable format-from the bliss of catching the perfect wave at San Onofre to dramatic wipeouts at Oahu's famed North Shore. An innovator in the field, Grannis suction-cupped a waterproof box to his board, enabling him to change film in the water and stay closer to the action than any other photographer of the time. He also covered the emerging surf lifestyle, from "surfer stomps" and hordes of fans at surf contests to board-laden woody station wagons along the Pacific Coast Highway. It is in these iconic images that a sport still in its adolescence embodied the free-spirited nature of an era-a time before shortboards and celebrity endorsements, when surfing was at its bronzed best.

The Sculpture of William Edmondson: Tombstones, Garden Ornaments, and Stonework is the first large-scale museum examination of the artist's career in over twenty years. Organized by Cheekwood Curator of Sculpture, Dr. Marin R. Sullivan, the exhibition draws upon new scholarship and methodologies to contextualize Edmondson's sculpture, both within the histories of Nashville during the Interwar years and the art histories of modern art in the United States. Edmonson has largely been confined to narratives that focus on his artistic discovery by white patrons in the 1930s, his work's formal resonance with so-called primitivism and direct carving techniques, and his place in the traditions of African American ""outsider"" art. This exhibition revisits Edmonson's work within these frameworks, but also seeks to reevaluate his sculpture on its own terms and as part of a comprehensive practice that included the creation of commercial objects rather than strictly fine art. The exhibition's title references the sign that hung on the outside of Edmondson's studio, advertising what was for sale and on view to the public in his yard, including tombstones, birdbaths, and statuary meant to be used and intended for outdoor rather than gallery display. This catalog expands upon the exhibition, including photos of Edmondson's grave markers and his yard art.

This lavishly illustrated book explores the aesthetic and cultural impact of New Mexico art from the 1880s to the present, and highlights a refreshing range of works representing European, native, ethnic, tourist, regional and commercial art. For the past 125 years, art in New Mexico has told a complex story of aesthetic interaction and cultural fusion. Southwest art began with 19th-century documentarians confronting a disappearing Native America and an exotic landscape. Artists who arrived in New Mexico beginning in the 1880s wrestled with the commercialisation of the region and the clash of cultural identities. Native peoples and expedition photographers, tourism and the railroad, artist colonies, the arrival of modernism, Trinity and the end of romanticism, a new generation of native artists challenging ethnic identity -- all have played a part in what we now call New Mexican art. "The Art of New Mexico" provides new perspectives on the evolution of art in the state, and highlights the outstanding collection of the Museum of Fine Arts in Santa Fe, which is the repository for some of the finest works by renowned artists such as Adam Clark Vroman, Marsden Hartley, Robert Henri, John Sloan, Georgia O'Keeffe, and Luis Elijo Tapia. Curator and author Joseph Traugott discusses how Native American and Hispanic artists of the Southwest not only influenced the non-native artists who came to call New Mexico home, but how in turn their work was influenced by these newcomers. By organising key objects from the museum's collection with an intercultural history of New Mexico art, the book makes cogent connections between specific works, aesthetic movements, and cultural traditions. As a result, this book will engage readers who are well versed in the artistic traditions of New Mexico, as well as those new to its aesthetic heritage. The book is published to coincide with a reinstallation of the permanent collection at the Museum of Fine Arts in Santa Fe.

Senza data (Undated), an exhibition at the Stefano Bardini Museum in Florence, presents a series of works by Italian artist Luca Pignatelli painted on railway tarpaulins, wood, paper, sheet metal, and Persian carpets from the early 20th century. The painted carpets stand out immediately for their size and their link with the vast collection of carpets in the museum. Luca Pignatelli studied architectural composition during the period influenced by the theories of Aldo Rossi and the idea of the sedimentary growth of history. He is an artist able to accept the challenge of large-scale paintings, working with unusual supports on which he overlays his own selection of images, icons of collective memory like trains, planes, machines, and relics of classical culture. This catalogue includes an interview with the artist and an essay by director of the Museo Novecento in Florence.

Following the success of The Anomie Review of Contemporary British Painting in 2018, a second volume has been created to showcase more than sixty solo exhibitions that have defined contemporary painting in Britain since the first volume. This new, larger anthology presents the work of sixty artists born or living in Britain through documentation and discussion of solo exhibitions of their work in museums and galleries around Britain and internationally. Featuring artists at different stages of their careers, from senior figures exhibiting at major museums to emerging artists staging some of their first commercial gallery exhibitions, The Anomie Review of Contemporary British Painting 2 offers an overview of recent activity in the medium of painting in Britain. Artists and venues featured in this new volume include Hurvin Anderson at Rat Hole Gallery, Tokyo; Lisa Brice at Stephen Friedman Gallery, London; Gareth Cadwallader at Josh Lilley, London; Denzil Forrester at Nottingham Contemporary; Sophie von Hellermann at Pilar Corrias, London; Matthew Krishanu at Midlands Arts Centre, Birmingham; Joy Labinjo at BALTIC, Gateshead; France-Lise McGurn at Simon Lee, London; Benjamin Senior at BolteLang, Zurich; Anj Smith at MOSTYN, Llandudno; Tim Stoner at Modern Art, London; and Phoebe Unwin at Towner Eastbourne. The anthology, which features cover artwork by Jade Fadojutimi from her spring 2019 solo exhibition at PEER, London, has been compiled and written by London-based editor and writer Matt Price, who in addition to editing more than fifty monographs, catalogues and books including Phaidon's international anthologies of painting and drawing Vitamin P2 and D2, has written for magazines such as Art Monthly, Art Quarterly, ArtReview, Flash Art, Frieze and Modern Painters. Endorsements for the first volume of The Anomie Review of Contemporary British Painting: "This insightful, richly illustrated anthology is a celebration of an artistic medium that is not only surviving but positively thriving. In discussing the work of [...] diverse painters, author Matt Price proves a passionate and engaging artworld guide to British painting today." - Helen Sumpter, Editor, Art Quarterly, ART FUND "It is hard to believe that nobody has thought to publish an anthology of this sort before, so valuable is it to current and future curators, artists and scholars, as well as audiences interested in the medium. A highly enjoyable read." - Charlotte Keenan McDonald, Curator of British Art, Walker Art Gallery / National Museums Liverpool.

Cahiers d Art refers at once to a publishing house, a gallery, and to a revue founded in 1926 by Christian Zervos at 14 rue du Dragon in the heart of Saint-Germain des-Pres. Cahiers d Art was entirely unique: a journal of contemporary art defined by its combination of striking typography and layout, abundant photography, and juxtaposition of ancient and modern art, including original works by Picasso, Miro, Giacometti, Duchamp, and Man Ray, where writers like Paul Eluard, Ernest Hemingway, and Samuel Beckett often replaced the usual art critics.

This is the first issue of the Cahiers d art revue to be published since 1960. The first issue contains an extensive article of 70 pages dedicated to a defining artist of our time, Ellsworth Kelly; texts from renowned architects, art historians, and critics; as well as portfolios of previously unpublished material by Cyprien Gaillard, Sarah Morris, and Adrian Villar Rojas.

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Hogarth's pictures are among the most iconic of the eighteenth century - his cacophonous crowds, bustling streets, polite or not-sopolite companies, and all too revealing tales of human folly, vividly bring the world around him to life. Their fame and popularity rests, above all, on their widespread circulation as prints, not only in England but around the globe, from the artist's lifetime to today. Having first trained as an engraver, this remained an important aspect of his art and success. It is in print that he is often at his most creative and original, capturing, in his own words, 'the perpetual fluctuations in the manners of the times'. Taking its cue from the portfolio collections Hogarth himself curated, this book gathers together a selection of his best loved and most inventive prints.

In 2017 acclaimed film and stage actress Glenn Close donated her costume collection to Sidney and Lois Eskenazi School of Art, Architecture + Design. The Art of the Character: Highlights from the Glenn Close Costume Collection is an exhibition and catalogue at the Sidney and Lois Eskenazi Museum of Art at Indiana University, in partnership with the Sage Fashion Collection. This beautifully designed catalogue spans Close's career through film, television and theatre, with a survey of beautifully crafted costumes from some of her most iconic performances, such as roles in Fatal Attraction, Dangerous Liaisons and 101 Dalmatians. Great designers featured include James Acheson, Ann Roth and Anthony Powell. "All my costumes are the product of an informed, passionate collaboration," Close said. " ... And I'd like them to gain an insight into the creative process, which is basically the thing that keeps any artist's soul alive: the actual process."

An exploration of Durer's career and legacy as an international traveling artist The visual legacy of Durer's travels extends far beyond his lifetime and throughout Europe, and the documents illuminating them offer unique insights into the distinctive ways Durer conducted and managed his career, making him an intriguing-and even controversial-figure. This generously illustrated book examines the career of preeminent Renaissance artist Albrecht Durer (1471-1528) as an international traveler, addressing his relations with artists from Italy to the Low Countries, including Giovanni Bellini, Joos van Cleve, Jan Gossaert, Lucas van Leyden, Quentin Massys, and Bernard van Orley. Bringing together paintings, drawings and prints, the book examines Durer as an artist-entrepreneur, explorer, and innovator of artistic theory. Durer's treatises and letters, and his detailed journal documenting his journey to the Low Countries in 1520-1, offer insights into his artistic practices and encounters with artists and patrons, as well as the nature of travel in the early 16th century. Published by National Gallery Company/Distributed by Yale University Press Exhibition Schedule: The National Gallery, London March 6, 2021 - June 13, 2021 Suermondt-Ludwig Museum, Aachen July 18, 2021 - October 24, 2021

Quilts and Color presents more than sixty graphically bold American quilts from the Pilgrim/Roy Collection, one of the finest and largest collections of quilts in the world. These collectors recognized that quilt makers often grappled with the same concerns as many modern artists. Influenced by twentieth-century art developments such as Abstraction, Op Art and the Colour Field movement, Paul Pilgrim and Gerald Roy were among the first to appreciate quilts as more than simply decorative bedcovers, women's fancy work, or symbols of a rustic past. Reproduced brilliantly and arranged by ideas based in colour theory - Vibrations, Mixtures, Gradation Harmonies, Contrasts, Variations, Optical Illusions and Singular Visions - each quilt in this book is celebrated as a unique work of art. The accompanying text also sheds light on the social and cultural history of the quilts as well as the practices and aspirations of their mostly anonymous makers, who created such works of enduring beauty and arresting visual impact.

Protecting, healing, or punishing-people of various eras and origins have attributed such powers to the sculptures that are being presented together here for the first time: be it the sculpture of the Mangaaka from what is today the Republic of Congo, the protective goddess Mahamayuri from China, or the Maria on the globe from Southern Germany. Forty-five objects created between the fourth and the nineteenth century from two museums in Berlin provide a vivid testimony to the ever-present need for protection and orientation when dealing with individual or social crises. They represent the existence of an invisible world of gods, spirits, or ancestors, and create a connection between this world and a "different reality." As a result of how they are presented in museums, their context of use is, however, often lost-a situation that is reflected on by the authors of this book.

With The Assembled Human the Museum Folkwang inquires into the ambivalent relationship between humans and machines. It's a conflicted relationship, fluctuating between utopia and nightmare, and it still influences our present time. From the conveyor belt to cybernetics and today's digital revolution, from Cubism, Futurism, and Constructivism into the recent present with Ed Atkins, Jon Rafman, Avery Singer, or Anna Uddenberg, the show traces the transformation of technology, presenting a wide panorama of artistic visual worlds: human beings as hybrid creatures, blended with their own self-made machines. Featuring 200 works by 100 artists as well as prolific essays, this extensive catalogue goes in-depth into this highly current issue. Artists: Walter Heinz Allner, Bettina von Arnim, Gerd Arntz, Ed Atkins, Giacomo Balla, Joachim Bandau, Lenora de Barros, Willi Baumeister, Thomas Bayrle, Rudolf Belling, Ella Bergmann-Michel, Renato Bertelli, Umberto Boccioni, Wilhelm Braune, John Cage, Helen Chadwick, Computer Technique Group (CTG), Charles A. Csuri, Mariechen Danz, Fortunato Depero, Walter Dexel, Otto Dix, Marcel Duchamp, Raymond Duchamp-Villon, Charles & Ray Eames, Max Ernst, Alexandra Exter, OEyvind Fahlstroem, Harun Farocki, William Allan Fetter, Otto Fischer, Herbert W. Franke, Carl Grossberg, George Grosz, Richard Hamilton, Barbara Hammer, Sidsel Meineche Hansen, Raoul Hausmann, John Heartfield, Lynn Hershman Leeson, Eva Hesse, Lewis Wickes Hine, Heinrich Hoerle, Rebecca Horn, Vilmos Huszar, Boris Ignatowitsch, Fritz Kahn, Wassily Kandinsky, Anne-Mie van Kerckhoven, Friedrich Kiesler, Konrad Klapheck, Jurgen Klauke, Paul Klee, Heinrich Kley, Josh Kline, Iwan Kljun, Gustavs Klucis, Alexander Kluge, Kiki Kogelnik, Germaine Krull, Boris Kudojarow, Helmuth Kurth, Jurgen van Kranenbrock, Maria Lassnig, Fernand Leger, Alice Lex-Nerlinger, Roy Lichtenstein, El Lissitzky, Hilary Lloyd, Goshka Macuga, Rene Magritte, Kasimir Malewitsch, Man Ray, Etienne-Jules Marey, Remy Markowitsch, Caroline Mesquita, Laszlo Moholy-Nagy, Johannes Molzahn, Alexei Morgunow, Martin Munkacsi, Eadweard Muybridge, Otto Neurath, Katja Novitskova, ORLAN, Tony Oursler, Trevor Paglen, Nam June Paik, Eduardo Paolozzi, Georgi Petrusow, Antoine Pevsner, Walter Pichler, Jon Rafman, Robert Rauschenberg, Timm Rautert, Alexander Rodtschenko, Thomas Ruff, Walter Ruttmann, James Shaffer, Arkadi Schaichet, Xanti Schawinsky, Helmut Schenk, Oskar Schlemmer, Nicolas Schoeffer, Franz Wilhelm Seiwert, Avery Singer, Stelarc, Friedemann von Stockhausen, Thayaht, Paul Thek, Jean Tinguely, Patrick Tresset, Anna Uddenberg, Andor Weininger, Erwin Wendt, Hugo von Werden, George Widener. Text in English and German.

New commissioned work by an important American contemporary artist using a multidisciplinary approach to examine issues of race and identity Produced for the Future Fields Commission in Time-Based Media by the multidisciplinary artist Martine Syms (b. 1988), Neural Swamp is an immersive video installation that builds upon Syms's interest in the proliferation, circulation, and consumption of images, as well as her continued research into machine systems that erase or make invisible Black bodies, voices, and narratives. The publication documents this new work, offering in-depth analysis and a visual essay that reflects the specific approach to images and text characterizing Syms's practice. Neural Swamp's multichannel presentation reveals its characters through their reading of a continually changing script, the variations determined by a text-generating model. Through these dynamic interactions, along with the installation's physical elements, Syms creates a kaleidoscopic view of the world and our complex relationship with one another and with technology. Published in association with the Philadelphia Museum of Art and the Fondazione Sandretto Re Rebaudengo Exhibition Schedule: Fondazione Sandretto Re Rebaudengo, Turin (November 5, 2021-March 27, 2022) Philadelphia Museum of Art (May 14-October 30, 2022)

More than four million visitors travel each year to the Wisconsin Dells, making it the most economically significant tourist destination in the state. After the first non-Native settlers arrived in the late 1830s, photographers began capturing images of the region. H. H. Bennett marketed his iconic images, some of which exploited the image and history of the Ho-Chunk tribe living in the region, to travel agents who sold them across the United States, encouraging early tourism in the area focused on the untamed nature of the frontier. In the next century, this continued desire for adventure was built into exotic hotel names, water parks, and amusement rides. This volume provides the first comprehensive photographic history of the Dells, contextualized in essays by celebrated Wisconsin historians. Spanning the earliest extant photos of the area to the works of contemporary photographers, these representations depict the stunning natural landforms, document the development of the area, and explore public perception of the place. Many new and never-before-seen photographs present the interplay of art and tourism that has made the Dells what they are today--sure to delight history enthusiasts and seasonal vacationers alike.

A Casual Reconstruction explores open conversation to examine the relationship between language, identity and human connection. Driven by the desire to have an honest discussion about Indigenous identity/mixed identity, artist Nadia Myre invites viewers on an intimate journey to probe the meaning of cultural distinctiveness. The interweaving of video projection and audio narratives serves as an intriguing rumination in understanding the meaning of belonging and the importance of the art of listening.

The recent work of Belgian abstract artist Yves Zurstrassen is explored in depth in this handsome volume, designed in close collaboration with the artist himself The decade of work produced between 2010 and 2019 by Belgian abstract painter Yves Zurstrassen (b. 1956) is the focus of this beautifully designed and illustrated book. Although he originally studied graphic art, Zurstrassen was inspired by Abstract Expressionists such as Jackson Pollock and Willem de Kooning to pursue painting. The book's essays delve into the artist's process and offer a critical analysis of the work. Also included are a detailed biography and insightful, informal conversations with the artist. Featuring full-page illustrations of Zurstrassen's recent work, the book situates the artist both within abstract art and the broader context of contemporary painting. Distributed for Mercatorfonds Exhibition Schedule: Centre for Fine Arts, Brussels (September 1-December 31, 2019)

There is a healthy antique-collecting community in Malta and the contents of Maltese private collections are simply breathtaking. All the items which are being illustrated (except for most of the coins) have only one thing in common: they are found in Maltese collections and are hidden safely in the vast network of Maltese house museums scattered all over the island. Some private collecrtions seem to rival the state collections. Ninety-five percent of the items which are being illustrated are not family heirlooms but are items which have appeared on the market over the past twenty years.

Amor Mundi: The Collection of Marguerite Steed Hoffman delves deep into this remarkable singular collection. Over two volumes, Amor Mundi presents an edited selection of over 400 works of modern and contemporary art from the Collection of Marguerite Steed Hoffman, from the pieces brought together by Marguerite Steed and her late husband Robert Hoffman (1947-2006) to more recent outstanding acquisitions. Over 30 authors - artists and art historians - explore this fascinating collection, addressing specific artworks as well as the motivations behind the collection's creation and ongoing evolution. Created over the course of a two-year period, great care has been taken to reflect the collection's key artists, canonical works, and the issues and debates that have helped shape its direction for more than a quarter of a century. By highlighting the art and artists as well as the ideological principles underlying the collection, it is hoped that Amor Mundi will shed some light on how to interpret this extraordinary collection of modern and contemporary art as well as communicating something about the personality of the woman who assembled it. Texts by Martin Jay, Renee Green, Susan L. Aberth, Sarah Celeste Bancroft, Renate Bertlmann, Anna Katherine Brodbeck, Susan Davidson, Gavin Delahunty, TR Ericsson, Tamar Garb, Robert Gober, Rachel Haidu, Merlin James, Wyatt Kahn, Ragnar Kjartansson, Anna Lovatt, Leora Maltz-Leca, Nic Nicosia, Charles Ray, Mark Rosenthal, Dana Schutz, Barry Schwabsky, Richard Shiff, Raphaela Simon, Michelle Stuart, Kirsten Swenson, Mary Weatherford, Terry Winters. Interviews by Martin Jay and Marguerite Steed Hoffman, Gavin Delahunty and Isabelle Graw

This book is published to mark the exhibition at Te Papa of the remarkable third century BC funerary statues excavated from the astounding archaeological site at X'ian, China. The sculptures depicted the armies of Qin Shi Huang, the first Emperor of China, and were made to protect him in his afterlife. The 200 especially selected pieces from the site have travelled to Wellington and then to Melbourne, for their first exhibition in Australasia for 30 years. This highly illustrated catalogue has images of all the objects in the exhibition as well as informative essays that explain more about the creation of the objects and their ongoing discovery.