The 90s are back! In a richly illustrated volume, which accompanied her first ever curated exhibition, Claudia Schiffer brings together legendary fashion photographers, designers and supermodels, whose visions captivated and shaped the decade. The book draws from a diverse panorama of various aspects, characters, and places, the interplay of which made fashion become a kind of 'total artwork' during the 90s. Major photographic works by legendary photographers are balanced with unseen material from Schiffer's private archive. Readers gain insights into a diverse world of images: the extravaganza of Arthur Elgort's oeuvre is shown next to Corinne Day's intimate and immediate style. Ellen von Unwerth's sense of humour and exuberant play with sexiness, meet the sculptural and perfectly composed works by Herb Ritts. The provocative photos by Juergen Teller contrast with Karl Lagerfeld's elegant and timeless images. Many more iconic photographers are featured in the volume. The accompanying essays by leading heads of the fashion industry shed light on a decade which strongly shapes the culture of the present.

This sumptuous presentation of the Philadelphia Museum of Art's wide-ranging collection of Chinese art features one hundred works in various media spanning antiquity to the present day-including Ming gold vessels, a 15th-century Buddhist temple ceiling, imperial court robes, and an 18th-century bookcase made in Canton for a Dutchman. With striking new photography and engaging and informative discussions of individual works of sculpture, painting, furniture, textiles, ceramics, metalwork, and architecture, this volume provides a fascinating look into the breadth and diversity of Chinese artistic experience and material culture. An introductory essay by Hiromi Kinoshita delves into the history of the Philadelphia Museum's Chinese collection-begun after the 1876 World's Fair and continuing today with acquisitions of contemporary works by Ai Weiwei and Zhang Huan-weaving together stories of intrepid and dedicated collectors, curators, and dealers. Both accessible to general readers and of interest to scholars, this book is a valuable resource for those captivated by the many manifestations of art from China.

While legend has it that Vincent van Gogh (1853-1890) sold only one work during his lifetime, it was not long after his death that sales of his paintings began to shatter auction house records. In this carefully researched book, leading Van Gogh scholars provide us with a glimpse into classified client files and illuminate the critical role that the Thannhauser Gallery occupied in cultivating and shaping an early clientele for the artist's works. Founded in Munich in 1909, the Thannhauser Gallery was Germany's preeminent promoter of the avant-garde in the decades before World War II. In other European cities and in New York, the business thrived, selling an impressive number of Van Gogh's oeuvre: roughly 110 works, including many masterpieces, now part of museum collections all over the world. Distributed for Mercatorfonds

Artists and writers examine the bombardment of information, misinformation, emotion, deception, and secrecy in online and offline life in the post-digital age. Every day we are bombarded by information, misinformation, emotion, deception, and secrecy in our online and offline lives. How does the never-ending flow of data affect our powers of perception and decision making? This richly illustrated and boldly designed collection of essays and artworks investigates visual culture in the post-digital age. The essays, by such leading cultural thinkers as Douglas Coupland and W. J. T. Mitchell, consider topics that range from the future of money to the role of art in a post-COVID-19 world; from mental health in the digital age to online grieving; and from the mediation of visual culture to the thickening of the digital sphere. Accompanying an ambitious exhibition conceived by the Sharjah Art Foundation and volume editor and curator Omar Kholeif, the book is a work of art and a labor of love, emulating the labyrinthine corridors of the exhibition itself. Created by a group of writers, artists, designers, photographers, and publishers, Art in the Age of Anxiety calls upon us to consider what our collective future will be and how humanity will adapt to it.

Jewelry Stories highlights the Museum of Arts and Design's unique, world-class collection of studio and contemporary art jewellery from the US, Europe, Australia, and Asia, a medium that comprises one-third of its permanent collection. Artists working in this field create jewellery rooted in sculptural experimentation and the concept of art as a wearable medium. The pieces featured represent the history of art jewellery as told from a largely US perspective. Jewellery artists are inspired by such subjects as found objects and materials, as well as by politics and pressing social issues, allowing for the development of unique, personal narratives in each piece. Each of the jewellery stories is written by an expert on the artist or subject, thus the book also celebrates the contributions they have made to the field. Published to accompany an exhibition at Museum of Arts and Design, New York (US), on permanent display.

As a result of the Napoleonic wars, vast numbers of Old Master paintings were released on to the market from public and private collections across continental Europe. The knock-on effect was the growth of the market for Old Masters from the 1790s up to the early 1930s, when the Great Depression put an end to its expansion. This book explores the global movement of Old Master paintings and investigates some of the changes in the art market that took place as a result of this new interest. Arguably, the most important phenomenon was the diminishing of the traditional figure of the art agent and the rise of more visible, increasingly professional, dealerships; firms such as Colnaghi and Agnew's in Britain, Goupil in France and Knoedler in the USA, came into existence. Old Masters Worldwide explores the ways in which the pioneering practices of such businesses contributed to shape a changing market.

The book will provides the first detailed history of the Bridgewater collection. The story extends from the 3rd Duke of Bridgewater's purchases in Rome in the 1750s, then on to the major acquisitions of the 1790s (especially from the Orleans collection), then through the incorporation of the collection into the Stafford Gallery by the 2nd Marquess of Stafford (1st Duke of Sutherland), and finally to its reinstallation by Lord Francis Egerton in the new Bridgewater House in 1851. As well as providing a detailed account of the personalities and differing motives of three generations of collectors and owners, the book examines the ways in which the collection was arranged and displayed. It also discusses reactions to it by contemporaries, from sophisticated critics such as William Hazlitt, to the general public, and analyses major publications on it such as the four-volume illustrated catalogue by William Young Ottley of 1818. The illustrations will include many works sold from the collection aft er 1946 and now widely dispersed.

This scholarly publication presents the work of the designer, painter and illustrator Claude Gillot (1673-1722). The first volume on the artist in English, it accompanies a major exhibition at the Morgan Library& Museum that explores Gillot's inventive and highly original draftsmanship and places his work in the context of artistic and intellectual activity in Paris ca. 1700. The history of eighteenth-century French art under the ancien regime is dominated by great names. But the artistic scene in Paris at the dawn of the century was diverse and included artists who forged careers largely outside of the Royal Academy. Among them was Claude Gillot. Known primarily as a draftsman, Gillot specialized in witty scenes taken from the Italian commedia dell'arte plays performed at fairground theaters and vignettes of satyrs enacting rituals that expose human folly. The book will address Gillot's work as a designer, painter, and book illustrator, and advance a chronology for his career. Crafting a timeline for Gillot's life and work will clarify his relationship with his younger collaborators Antoine Watteau and Nicolas Lancret. Through an artistic biography and six chapters, each devoted to an aspect of his oeuvre, Gillot's role in developing quintessential rococo subjects is established. We follow Gillot from his start as the son of a decorative painter in the bishopric of Langres to his arrival in Paris in the 1690s, as the city and its secular entertainments flourished apart from the royal court at Versailles. Myriad opportunities awaited artists outside official channels, and Gillot built his career working in the theater and as a painter and designer long before seeking official academic status. His involvement with writers, playwrights, and printmakers helped define his sphere. Gillot's preference for theatrical subjects brought him critical attention, and also attracted talented assistants such as Watteau and Lancret. Gillot came to prominence around 1712 working at the Paris Opera and as a printmaker and illustrator of books, lending his droll humor to satires. By 1720, Gillot was enlisted to design costumes for the last royal ballet, one of the final projects of his career. He died nine months after his most celebrated pupil, Watteau. The sale of his estate, which including his designs and many etched copper plates, provided material for printmakers and publishers and ensured Gillot's lasting fame among print connoisseurs. His oeuvre as a draftsman and painter, however, was largely forgotten until drawings and canvases began to emerge in the first half of the twentieth century.

2018 National Jewish Book Award Finalist Maira Kalman, the author of the bestsellers The Principles of Uncertainty and The Elements of Style, and Alex Kalman, the designer, curator, writer, and founder of Mmuseumm, combine their talents in this captivating family memoir, a creative blend of narrative and striking visuals that is a paean to an exceptional woman and a celebration of individuality, personal expression, and the art of living authentically. In the early 1950s, Jewish emigre Sara Berman arrived in the Bronx with her husband and two young daughters When the children were grown, she and her husband returned to Israel, but Sara did not stay for long. In the late 1960s, at age sixty, she left her husband after thirty-eight years of marriage. One night, she packed a single suitcase and returned alone to New York City, moving intoa studio apartment in Greenwich Village near her family. In her new home, Sara began discovering new things and establishing new rituals, from watching Jeopardy each night at 7:00 to eating pizza at the Museum of Modern Art's cafeteria every Wednesday. She also began discarding the unnecessary, according to the Kalmans: "in a burst of personal expression, she decided to wear only white." Sara kept her belongings in an extraordinarily clean and organized closet. Filled with elegant, minimalist, heavily starched, impeccably pressed and folded all-white clothing, including socks and undergarments, as well as carefully selected objects-from a potato grater to her signature perfume, Chanel No.19-the space was sublime. Upon her death in 2004, her family decided to preserve its pristine contents, hoping to find a way to exhibit them one day. In 2015, the Mmuseumm, a new type of museum located in a series of unexpected locations founded and curated by Sara's grandson, Alex Kalman, recreated the space in a popular exhibit-Sara Berman's Closet-in Tribeca. The installation eventually moved to the Metropolitan Museum of Art. The show will run at the Skirball Center in Los Angeles from December 4, 2018 to March 10, 2019; it will open again about a month later at the National Museum of American Jewish History from April 5, 2019 to September 1, 2019. Inspired by the exhibit, this spectacular illustrated memoir, packed with family photographs, exclusive images, and Maira Kalman's distinctive paintings, is an ode to Sara's life, freedom, and re-invention. Sara Berman's Closet is an indelible portrait of the human experience-overcoming hardship, taking risks, experiencing joy, enduring loss. It is also a reminder of the significance of the seemingly insignificant moments in our lives-the moments we take for granted that may turn out to be the sweetest. Filled with a daughter and grandson's wry and touching observations conveyed in Maira's signature script, Sara Berman's Closest is a beautiful, loving tribute to one woman's indomitable spirit.

This book explores the achievements of a group of young women artists who learned about the New Art through an extraordinary faculty of innovators at Douglass College. New Art rejected the dominance of Abstract Expressionism, advocating that art should be based on everyday life and that "anything can be art."

"Everyone is free here. . . . The cities are open. They are open to the world and to the future. That is what gives them all an air of adventure; and . . . a kind of touching beauty." So wrote the French philosopher Jean-Paul Sartre on a 1945 trip to the United States during which he crossed the country and dove deep into the soul of the American city. In this new volume, Sartre's reflections on the distinctly American quality of cities in the United States are accompanied by Pedro Meyer's photographs of American cities, offering similarly sharp insights, but through a different historical lens: that of the late eighties and early nineties. Together, the photographs and essays articulate the enduring essence of American urban existence--its relationship with time, with labor and humanity, and with the open spaces emblematic of America.

Cornelia Parker's art is about destruction, resurrection and transformation. Always driven by curiosity, she reconfigures familiar objects to question our relationship with the world, and engage with the important issues of our time, be it violence, ecology or human rights. This landmark publication charts Cornelia Parker's career to date, from early work to the iconic installations Cold Dark Matter: An Exploded View 1991, for which she had a garden shed blown up, and Perpetual Canon 2004, made up of brass band instruments, steamrollered flat, to the immersive War Room 2015 and on to new work, such as Island and Flag, made in 2022. The book also explores the full range of her practice, from her monumental collective embroidery, as well as her films and a wealth of her innovative drawings, prints and photographs. No other contemporary artist has worked so closely with such a wide range of individuals, groups and institutions: the British Army, The Royal Mint, Abbey Road Studios, prisoners, school children, The Daughters of the Republic of Texas, whistleblowers and the UK Parliament among many others. Featuring a new, extended interview with Tate Britain Director of Exhibitions and Displays Andrea Schlieker, as well as insights and reflections from a selection of writers and collaborators, Cornelia Parker is an authoritative and captivating survey of one of Britain's best-loved and most acclaimed artists.

From the soaring castles of Sleeping Beauty to the bloody battles of Game of Thrones, from Middle-earth in The Lord of the Rings to mythical beasts in Dungeons & Dragons and from Medieval Times to the Renaissance Faire to Disneyland, the Middle Ages have inspired artists, playwrights, filmmakers, gamers, and writers for centuries. Indeed, no other historical era has captured the imaginations of so many creators. This volume aims to uncover the many reasons why the Middle Ages have proven so flexible-and applicable-to a variety of modern moments from the eighteenth through the twenty-first century. These "medieval" worlds are often the perfect ground for exploring contemporary cultural concerns and anxieties, saying much more about the time and place in which they were created than they do about the actual conditions of the medieval period. With 140 color illustrations, from sources ranging from thirteenth-century illuminated manuscripts to contemporary films and video games, and a preface by Game of Thrones costume designer Michele Clapton, The Fantasy of the Middle Ages will surprise and delight both enthusiasts and scholars. This title is published to accompany an exhibition at the J. Paul Getty Museum at the Getty Center from June 21-September 11, 2022.

As part of documenta fifteen, ruangrupa publishes two issues of a magazine, "majalah," in Indonesia exploring the exhibition's pivotal concept-working collectively. lumbung, which directly translates to "rice barn," refers to a collectively governed building where a community's harvest is gathered, stored, and distributed according to jointly determined criteria as a pooled resource for the future, but is also understood in a broader sense as a way of working and living together. The two issues - Harvesting and Sharing - combined here in one volume, explore the implications of sharing resources for the collective wellbeing. Featuring short stories and features by leading journalists, researchers, and writers from Indonesia, Majalah lumbung touches on themes such as cosmology, food, and architecture, providing a contextualized foundation for documenta fifteen.

Hinges: Sakaki Hyakusen and the Birth of Nanga Painting is the first US exhibition focusing on the art of Sakaki Hyakusen (1697-1752), the founding father of the Nanga school of painting in Japan. The exhibition, together with a fully illustrated catalog and extensive public programs, will demonstrate Hyakusen's pivotal role as a key figure in the transformation of Japanese painting of the eighteenth century. Highlighting the recent conservation of Mountain Landscape, a rare pair of six-panel landscape screens by Hyakusen, alongside Chinese landscape paintings by traditional masters and works by influential Nanga school painters, the exhibition promises to add significantly to public understanding of the art of conservation and important crosscultural and artistic connections emerging in Japan in the seventeenth and eighteenth centuries. With an introductory essay by curator Julia M. White, the fully illustrated catalog will include approximately fifty images, and three additional essays. A special chapter on conservation techniques and best practices in East Asian painting adds essential information on a contemporary area of interest. Published in association with the Berkeley Art Museum and Pacific Film Archive (BAMPFA). Exhibition dates: UC Berkeley Art Museum and Pacific Film Archive (BAMPFA): October 2, 2019-February 2, 2020

Accompanying the innovative new 2019 exhibition `Is This Tomorrow?' at Whitechapel Gallery, this fully-illustrated catalogue re-imagines the classic 1956 publication made for the Gallery's seminal exhibition `This is Tomorrow'. For a major new presentation in 2019, Whitechapel Gallery is taking as a model its groundbreaking 1956 exhibition `This is Tomorrow', an event which is indelibly linked to the institution's history. Organised and developed by architect, writer and sculptor Theo Crosby, `This is Tomorrow' featured 37 artists, architects, designers and writers who worked together in 12 small groups. In the catalogue, Lawrence Alloway introduced the exhibition as `devoted to the possibilities of collaboration', the results of which `appear to be setting up a programme for the future.' `Is This Tomorrow?' will also feature 12 groups of contemporary architects, artists and other cultural practitioners to highlight the potential of collaboration, to address key issues we face today and to offer a vision of the future. Both UK and international participants will explore subjects from conflict and warfare, economic inequality, migration and resource scarcity, to education, labour, trade and technology, comparing and contrasting the ideas of the original `This is Tomorrow' artists and architects whose concerns with communication theory, mass culture and the vernacular reflected their associations with British Constructivism and the Independent Group. The accompanying catalogue will take its inspiration from the original seminal 1956 publication, with each group presenting their process of design and collaboration through plans, sketches and photographs, plus accompanying explanatory texts. Architects featured include Adjaye Associates (UK/US/Ghana), Alberto Kalach/TAX (Mexico), Marina Tabassum Architects (Bangladesh) and Studio Anne Holtrop (Netherlands). Artists featured include Rana Begum, Cecile B. Evans, Simon Fujiwara and Kapwani Kiwanga.

The National Gallery's second Artist in Residence is Ali Cherri (b. 1976), a Lebanon-born artist based in Beirut and Paris. Known for his sculptures, films and installations, Cherri is interested in the aesthetics, practices and politics associated with the museum classification and collecting of objects, animals, images, and their narratives. Cherri was recently awarded the Silver Lion at the 2022 Venice Biennale. The first survey of Cherri's work in English, this book will give an overview of the artist's archaeological approach to the heritage of objects by investigating their relationships to history, society and nature. It will introduce Cherri to a broad audience and document his journey from the beginning of his residency to the production and display of the final work at the National Gallery in the autumn of 2021, followed by the Herbert Art Gallery & Museum in spring 2022. Published by National Gallery Company/Distributed by Yale University Press

Exploring the dialogue between the National Gallery, London and contemporary artist Rosalind Nashashibi through her work as artist in residence Rosalind Nashashibi (b. 1973) is a London-based artist known for her 16mm films, as well as her paintings and prints. Her films convey inner experiences of moments and events, often considering the politics of relations in the community and extended family, while merging everyday observations with fictional or mythological elements. Like her films, her paintings move between impressions and the more concrete depiction of forms or figures. In 2019 Nashashibi was appointed as artist in residence for 2020 by the National Gallery, London; over the course of a year she worked in close proximity to the gallery's collection, research, and teams. As the gallery's inaugural artist in residence, she has explored the ongoing dialogue between the art of the past and that of today, as well as the collection's influence on her own practice as a painter. The book includes enlightening conversations between Nashashibi and two artist colleagues, Elena Narbutaite and Lucy Skaer. Published by National Gallery Company/Distributed by Yale University Press