Parkett 76 features three rising stars of the international art scene: Julie Mehretu, Yang Fudong and Lucy McKenzie. As her marks and gestures are flung into motion upon the canvas, Julie Mehretu paints a picture of an infrastructure gone awry. Their layered, calligraphic density suggests Leonardo da Vinci's ecstatically charged tidal drawings. In the frozen situations encountered in Yang Fudong's images, the viewer must always ask, "Will the protagonist survive?" Fudong's narratives read like brief, melancholic confessions, an "abstract cinema" that, in his own words, functions as "a non-describable collision in one's heart." Over the last decade, Lucy McKenzie has been umbilically attached to Glasgow's underground, guided by her elegant draftsmanship and continuously undermining her own adopted visual rhetoric--which includes facades from Tintin, Socialist mural projects and Mackintoshian Modernism. Texts by Heidi Zuckerman Jacobson, Chris Abani, Madeleine Schuppli, Marcella Beccaria, Yuko Hasegawa, Zhang Wei, Neil Mulholland, Bennett Simpson, Isabelle Graw, Trevor Smith, Philipp Kaiser, Johanna Burton, Vincent Precoil, Hans Rudolf Reust, Matthias Haldemann and Bill Arning.

Containing an introductory essay on ancient gems, J. H. Middleton's work of 1892 catalogues the extensive and fascinating collection of engraved gems at Corpus Christi College, Cambridge. Middleton, who was a Professor of Fine Art and Director of the Fitzwilliam Museum, describes how the collection was acquired by the Reverend S. S. Lewis on his frequent visits to Italy, Greece and more distant Oriental countries. The catalogue demonstrates that the gems are more remarkable for their interesting subjects than for any exceptional beauty as works of art. The reader is shown how the gems represent important works of Greek sculpture, present examples of the work of Italian Renaissance artists, and illustrate myths and rituals of ancient times. The book will be of interest to students of glyptic art, and anyone interested in classical learning, the development of Christianity and the Renaissance of classical art.

This monograph on classical engraved gems, which also contains a catalogue of the collection then held by the Fitzwilliam Museum, was published in 1891. J. Henry Middleton (1846 1896) was at the time the Director of the Museum and Slade Professor of Fine Art in Cambridge. His intention was to provide an introductory volume for students of archaeology which both traced the history of the use of engraved gemstones as seals and signets from Babylonian to classical times, described the techniques used to create these miniature works of art, and gave catalogue definitions, enhanced by photographic plates, of the Fitzwilliam collection, which had for the most part been donated by Colonel W. M. Leake (1777 1860), whose antiquarian interests had been aroused when he was sent to the eastern Mediterranean to assist the Turkish army against the French in the early nineteenth century.

This book is a retrospective volume on Latin American new media arts, arising from the Cities in Dialogue exhibition that was held in in FACT in conjunction with the University of Liverpool and the Liverpool Independents Biennial in 2014. There is also plenty of detail about the other events that were held during 2014 and into 2015, including workshops, artist talks, Twitter galleries and the Artist in Residence and his activities. One chapter is dedicated to each artist and the works they presented at the exhibition: Brian Mackern from Uruguay, Barbara Palomino from Chile, Marina Zerbarini from Argentina, and Ricardo Miranda Zuniga from the US. There is also an extensive chapter about the exciting new residence artwork created by Artist in Residence Brian Mackern. Entitled This Too Shall Pass// Affective Cartographies, this work is based on footage obtained through a series of unplanned journeys along Liverpool's urbanscape. The gathering of information and recording of sound and visual material during these journeys is then remixed in this artwork by different parameters (volume levels, transparencies, zooms, fragmentations, crossfadings, speeds of timelines, etc.) controlled by Liverpool's "socio economic historic curve" of the last century. In this book you can find out about all of these works, and other pieces by these artists. The book includes full colour images throughout, including exclusive images of works in progress, as well as excerpts of interviews with the artists. At the back of the book you can find links to online resources, including the art works themselves, audio interviews with the artists, image galleries, and more.

In the late 19th century, numerous Russian artists found inspiration in the style of French Impressionist painters. Often, a journey to Paris acted as a catalyst for their burgeoning interest in the movement. They developed a preference for working en plein air and aimed to capture transitory effects through a spontaneous and free handling of the brush. Many leading painters of the later Russian avant-garde arrived at their individual styles due to studying the Impressionist use of light. This lavishly illustrated volume explores the many-layered ways French Impressionism influenced the evolution of Russian art from the 1880s to the 1920s, including the work of painters as diverse as Ilya Repin, Valentin Serov, Konstantin Korovin, Natalia Goncharova, and Kazimir Malevich. Essays by many of the leading scholars in the field provide rich new insights into one of the most intriguing chapters of Russian modernism.

For 40 years, the Cold War dominated the world stage. East and West Germany stood at the frontlines of the global confrontation, symbolized by the infamous Berlin Wall, which separated lovers, friends, families, coworkers, and compatriots. The Wende Museum in Los Angeles, California, is named after the period of change immediately following the wall's destruction. It was established in 2002 to study the visual and material culture of the former Eastern Bloc, and, with physical and psychic distance, to foster multiple perspectives on this multilayered history that continues to shape our world. This encyclopedic volume features around 2,000 items from its extraordinary collections. Based on our XL-sized volume, this edition includes a full spectrum of art, archives, and artifacts from socialist East Germany: official symbols and dissident expressions, the spectacular and the routine, the mass-produced and the handmade, the funny and the tragic. Accompanying these remnants of a now-vanished world are texts from scholars and specialists from across Europe, Canada, and the United States, with themes ranging from the secret police to sexuality, from monuments to mental-mapping. More than 800 pages, featuring around 2,000 objects. A smaller, more accessible version of our XL-sized volume, the most comprehensive overview of GDR visual and material culture to date. Several dozen images of everyday life and public events from the most famous GDR photographers. Special two-language edition featuring texts both in English and German. From November 18, 2017, visit the Wende Musem at its expanded campus in Culver City's Armory Building, a site originally created in preparation for World War III but re-designed by Michael Boyd, Christian Kienapfel, and Benedikt Taschen to welcome its 100,000+ collection of artifacts.

The volume Nicolas Party | L'Heure Mauve collects a vast visual epic in which Party plays a variety of roles, sometimes impersonating the artist, others the scenographer, the conservator, or the sculptor. His work, and the title of the show, are inspired by L'Heure Mauve, a piece created in 1921 by the Canadian painter Ozlas Leduc that highlights the different interpretations given to the relationship between man and nature throughout the history of art. The result is a constantly changing natural environment: it can be a place full of danger and catastrophe, a territory to be conquered, an expanse disseminated with ancient ruins, or even silences where there are no traces of human presence. Nature finally becomes the theatre for the Anthropocene, its connection with humanity by now inextricable, and the passing of time and the finiteness of existence make way for a feeling of melancholy. Our artist interrogates the world's image, and he does so by dialoguing very concretely with the spaces and the works belonging to the collection of the Montreal Museum of Fine Arts. The present volume reflects this personal evolution by employing a unique graphic framework and a packaging that is as precious as its contents. Text in English and French.

"Published to accompany a landmark exhibition of the art of J.M.W. Turner, this publication will highlight Turner's contemporary imagery, the most exceptional and distinctive aspect of his work throughout his career. Rather than making any claims for Turner's protomodernist credentials, it will explore what constituted modernity, and what it meant to be a modern artist, in his lifetime. Turner's career spanned revolution and the Napoleonic War, Empire, the explosion of finance capitalism, the transition from sail to steam and from manpower to mechanisation, political reform and scientific and cultural advances that transformed society and shaped the modern world. While historians have long recognised that the industrial and political revolutions of the late eighteenth century inaugurated farreaching change and modernisation, these were often ignored by artists as they did not fit into established categories of pictorial representation. This exhibition and its accompanying publication will show Turner updating the language of art and transforming his style and practice to produce revelatory, definitive interpretations of modern subjects."

A landmark new presentation of the work of J.M.W. Turner, repositioning the great painter as a pioneering chronicler of contemporary life, and exploring what it really means to be a modern artist. J.M.W. Turner's career spanned revolution and the Napoleonic War, Empire, the explosion of finance capitalism, the transition from sail to steam and from manpower to mechanisation, political reform and scientific and cultural advances that transformed society and shaped the modern world. While historians have long recognised that the industrial and political revolutions of the late eighteenth century inaugurated far reaching change and modernisation, these were often ignored by artists as they did not fit into established categories of pictorial representation. This extraordinary new publication shows Turner updating the language of art and transforming his style and practice to produce revelatory, definitive interpretations of modern subjects. This is J.M.W. Turner as he has never been seen before.

A new, expansive study on Futurism which explores for the first time its relationships with other European avant-gardes during 1912 to 1939 Futurism was originally an Italian movement established in 1909 that strived for a radical rejuvenation of culture, not just in art but in all aspects of life. The concept of a new, all-encompassing aesthetic found its way to large parts of Europe and had a great influence on other avant-garde movements, something which has never before been fully explored. Futurism and Europe: The Aesthetics of a New World examines for the first time the many interconnections between Futurism and other European avant-gardes such as De Stijl, Bauhaus, Esprit Nouveau, and Russian Constructivism. Featuring a wide range of works, the book spans multiple mediums including painting, sculpture, architecture, interior and stage designs, graphic work and fashion as well as a variety of functional objects from furniture and carpets to design books, ceramics, and puppets. Covering various avant-gardes from 1912 to 1939, artists featured include Italian futurists, such as Giacomo Balla, Umberto Boccioni, Fortunato Depero, Antonio Sant 'Elia and Enrico Prampolini, alongside other European artists Sonia Delaunay, Le Corbusier, Fernand Leger, Walter Gropius, Oskar Schlemmer, El-Lissitsky, Alexander Rodchenko, Theo van Doesburg, Gerrit Rietveld, Fritz Lang, Paul Citroen, Lazlo Moholy-Nagy, Wassily Kandinsky, Hans Arp, Duncan Grant, Kazimir Malevich, and Vladimir Tatlin Exhibition Schedule: Kro ller-Mu ller Museum, Otterlo (April 29-September 3 2023)

The Lobkowicz Collections rank among the oldest and largest privately owned collections of art, music and archival documents in Central Europe. Among the many musicians whose music played an important role in the life of the Lobkowicz family was Ludwig van Beethoven. The second volume of The Lobkowicz Collections Music Series explores intersections between the composer and one aristocratic household over the course of two decades. This narrative includes family letters, eyewitness observations published and private, archival documents, and music. Preserved in The Lobkowicz Collections are original manuscripts of significant works by Beethoven, many containing the composer's own corrections, which were used by musicians in early performances. Some of these works were dedicated by Beethoven to Franz Joseph Maximilian, 7th Prince Lobkowicz. This volume reveals a remarkably fruitful period in Beethoven's career, and the role that Prince Lobkowicz played in bringing his works to life. Also available: The Lobkowicz Collections Music Series: Highlights, ISBN 9781785512780

Harry Potter: A History Of Magic is the official book of the exhibition, a once-in-a-lifetime collaboration between Bloomsbury, J.K. Rowling and the brilliant curators of the British Library. It promises to take readers on a fascinating journey through the subjects studied at Hogwarts School of Witchcraft and Wizardry - from Alchemy and Potions classes through to Herbology and Care of Magical Creatures.

Each chapter showcases a treasure trove of artefacts from the British Library and other collections around the world, beside exclusive manuscripts, sketches and illustrations from the Harry Potter archive. There's also a specially commissioned essay for each subject area by an expert, writer or cultural commentator, inspired by the contents of the exhibition - absorbing, insightful and unexpected contributions from Steve Backshall, the Reverend Richard Coles, Owen Davies, Julia Eccleshare, Roger Highfield, Steve Kloves, Lucy Mangan, Anna Pavord and Tim Peake, who offer a personal perspective on their magical theme. Readers will be able to pore over ancient spell books, amazing illuminated scrolls that reveal the secret of the Elixir of Life, vials of dragon's blood, mandrake roots, painted centaurs and a genuine witch's broomstick, in a book that shows J.K. Rowling's magical inventions alongside their cultural and historical forebears.

This is the ultimate gift for Harry Potter fans, curious minds, big imaginations, bibliophiles and readers around the world who missed out on the chance to see the exhibition in person.

In 1966 Mark Gambier Parry bequeathed to the Courtauld Gallery the art collection formed by his grandfather Thomas Gambier Parry, who died in 1888. In addition to important paintings, Renaissance glass and ceramics, and Islamic metalwork, this included 28 medieval and Renaissance ivories. Since 1967 about half of the ivories have been on permanent display at The Courtauld, yet they have remained largely unknown, even to experts. This catalogue is the first publication dedicated solely to the collection. There are examples of the highest quality of ivory carving, both secular and religious in content, and a number of the objects are of outstanding interest. They are a revealing tribute to the perceptive eye of Thomas Gambier Parry, a distinguished Victorian collector and Gothic Revival artist responsible for a number of richly painted church interiors in England, such as the Eastern part of the nave ceiling, and the octagon, at Ely Cathedral.The earliest objects in date, probably late 11th century, are the group of walrus ivory plaquettes set into the sides and lids of a casket, portraying the Apostles and Christ in Majesty surrounded by the symbols of the Evangelists. The style leaves little doubt that they should be associated with a group of portable altars at Kloster Melk in Austria. A gap of some two centuries separates the casket panels from the next important object - the central portion of an ivory triptych, containing a Deesis group of Christ enthroned between angels holding instruments of the Passion in the upper register, and the Virgin and Child between candle-bearing angels below. The style of the ivory relates it securely to the atelier of the Soissons Diptych in the Victoria & Albert Museum. The Gambier-Parry fragment employs bold cutting of the frame to accentuate the three-dimensional quantities of the relief. Somewhat later in date, towards the middle of the 14th century, is a complete diptych of the Crucifixion and Virgin with angels, the faces of which Gambier-Parry described as worthy of Luini. The extraordinary foreshortening of the swooning Virgin's head can happily be paralleled to a diptych in the Schoolmeesters Collection, Lie'ge, bythe aterlie aux visages caracte'rise's, as named by Raymond Koechlin. The Gambier- Parry diptych, must rank with the finest productions of the workshop.