An engaging investigation of contemporary Brazilian artist Lygia Pape's early body of woodblock prints, which profoundly influenced the trajectory of her oeuvre One of Brazil's best-known contemporary artists, Lygia Pape (1927-2004) was a founding member of the Neo-Concrete movement in the late 1950s along with artists such as Lygia Clark and Helio Oiticica. Pape explored new visual languages in painting, performance, printmaking, and sculpture, and her work-much of it based in geometry- invited viewers to participate in the existential, sensorial, and psychological experience of her art. Presenting the first in-depth treatment of the experimental woodblock prints Pape made between 1952 and 1960, this volume examines the foundational role these works played in the rest of Pape's career, foreshadowing her philosophy of "magnetized space." Composed of overlapping geometric and linear elements that at times suggest atomic particles or slides of microscopic specimens, Pape's prints display an extraordinary depth accentuated by her use of incredibly thin, translucent Japanese papers. The artist applied the title Tecelares to these works decades after their creation. Loosely translated as "weavings," the term captures Pape's uniquely handmade approach to printmaking as well as her interest in indigenous Brazilian culture. Lavishly illustrated, this study is filled with revealing insights into how the artist's printmaking aesthetic, materials, and process embody her core ideas about art. Distributed for the Art Institute of Chicago Exhibition Schedule: Art Institute of Chicago (February 11-June 5, 2023)

A study of two exhibitions that took place five years apart in the same building in Brussels city-centre Full House explores two exhibitions that took place five years apart in the same building in Brussels and featured over 300 contemporary art works from the renowned collection of Frederic de Goldschmidt. The first show, Not Really Really, was organized in 2016 in a building that had only been vacated a few months before by a mental health clinic. The works were mostly sculptures made with everyday objects and played with the ambiguity of what the last occupants could have left and what the artists purposefully created. The building then underwent a long renovation, with photos included illustrating this process. The second show, Inaspettatamente (Unexpectedly), then engaged with themes such as order and disorder, time, classification, the artist's process or his/her position in world conflicts using the prism of the famous Arte Povera artist Alighiero Boetti. Curatorial texts and images of the works both in context and in studio allow the reader to discover and appreciate both exhibitions. Distributed for Mercatorfonds Exhibition Schedule: Cloud Seven , Quai du commerce 7 (November 11, 2021-January 30, 2022)

Formgiving. An Architectural Future History, the new book by BIG (Bjarke Ingels Group), is a visionary attempt to look at the horizon of time. The Danish word for "design" is "formgivning," which literally means to give form to that which has not yet taken shape. In other words, to give form to the future. Using our power to give form, rather than allowing the future to take shape, is more important now than ever, as humankind's impact on the planet continues to increase and pose ever greater challenges to all life forms. Architecture plays a special role by proposing spaces for our lives that are fragments of the future in the making. William Gibson's words embody architecture's role perfectly: "The future is already here-it's just not evenly distributed." With Formgiving, BIG presents the third part of its TASCHEN trilogy, which began with Yes is More, one of the most successful architectural books of its generation, and continued with Hot to Cold. An Odyssey of Architectural Adaptation. The book is presented in a timeline, stretching from the Big Bang into the most distant future. Projects are structured around six strands of evolution-"Making," "Sensing," "Sustaining," "Thinking," "Healing," and "Moving"-the multimedia-based, interdisciplinary concepts encompassing the building industry. Culture, climate, and landscape, as well as all the energies derived from the elements-the thermal mass of the ocean, the dynamics of currents, the energy and warmth of the sun, the power of the wind-are incorporated into these projects. Throughout more than 700 pages, Bjarke Ingels presents his personal selection of projects, including the 12,000-square-meter LEGO House in Denmark, the human-made ecosystems floating on oceans, the redesign of a World War II bunker into a contemplative museum, and the ski slope-infused power plant celebrating Copenhagen's commitment to carbon neutrality. Through architecture and design, BIG gives shape to a sustainable and simultaneously colorful world. Bjarke Ingels: "To feel that we have license to imagine a future different from today, all we have to do is look back ten years, a hundred years, a thousand years, to realize how radically different things were then than they are today. The same will be true if we can look ahead with the same clarity of vision. As we tackle the complexities of everyday life, these six evolutionary trajectories allow us to place a firm gaze on the horizon of time to prevent us from being derailed by the random distractions of today. Since we know from our past that our future is bound to be different from our present, rather than waiting for it to take shape on its own, we have the power to give it form." Formgiving is also a companion volume to the exhibition of the same name, which was conceived at the Danish Architecture Center in Copenhagen and will travel to other venues worldwide. More than 65 projects document BIG's global work through the eyes of their users, from the drawing board to global construction sites and finished projects. Throughout the book are insights into developments that reach five, ten, or fifty years into the future, and evidence of BIG's intransigence to reach beyond the ordinary, and beyond worlds, to contribute to the future with each project. Each step not only reveals a world that resembles our dreams but also already tries to realize these dreams pragmatically. We have the power to create the world of tomorrow! The book features: previously unpublished essays by Bjarke Ingels, award-winning photography by Laurian Ghinitoiu, Iwan Baan, and Rasmus Hjortshoj, among others, planetary proposals for habitats on the Moon and research centers on Mars, 20 LEGO master-builder models of BIG's work, a glimpse of Masterplanet-BIG's ongoing work on a collective, crowdsourced masterplan guide for sustaining our planet.

For six decades, sculptor Bruce Beasley has worked in a range of media to build complex, resonant sculptures that communicate the primacy of form and express the emotional language of shape. Bruce Beasley: Sixty Year Retrospective is an elegant survey of his illustrious career: from early experiments in scrap iron during the 1960s; aluminum works of the 1970s; cast acrylic sculptures of the 1970s and 80s; and stone, stainless steel and bronze works of the 1990s to the present day. The catalogue also features Beasley's latest venture into two-dimensional media. This richly illustrated book includes Beasley's reflections on his career. In a conversation, Beasley and Lawrence Weschler discuss art and activism. Essays discussing his processes and appraising his impact are written by curator Tom Moran and Marlena Doktorczyk-Donohue, Director of the Bruce Beasley Foundation and Professor of Art History at Otis College of Art and Design, Los Angeles.

All of the artwork in this collection -- Skulls, Catrinas and Culture of the Dead share a common theme: a lust for life and reverence of death -- all explored in engaging paintings, drawings, photography and sculpture. This book represents a veritable compendium of skulls and Catrinas with impressive artistic scope, and a valuable source of inspiration for contemporary tattoo artwork. Skulls and Catrinas are the most significant attributes of Mexico's traditional celebration of The Day of the Dead, El Dia de los Muertos. Such pleasures are brilliantly displayed in the artwork featured, in full vibrant colour, on the pages of this book. In this massive hardcover, Edgar Hoill has assembled renowned tattooists from around the world, who uniquely interpret the icons of this sacred day. The Calaveras, literally, "skulls" are artfully manifested in various forms among the artwork. Images of Catrina, the covert queen of the dead, within this book demonstrate how the artists view death as something to be laughed at and not feared. Also populating these pages are beautiful women with skeletal features transposed over their faces, bringing to mind the joy and suffering of love. Tattoo artists represented in this book: Jacky Rudy, Horiyoshi III, Italia Ruotolo, Chuey Quintanar, Colin Dale, Christin Hock Dolorosa, Dimitri, Paco Arias, Fredi Tut, Greg D., Rask Opticon, Derek Noble, Benjamin Estrada, Pablo Xno, Miguel Morales, Shige, Martin Martinez Castro, Roy Palma, Frank Chavez, Jesse Hernandez, Richie, Chamaco, Manson, Elvia Guadian, Paul Barrientos, Phillip Spearman, Ricardo Mendez, Abraham Ortega, AR Ink Bombers, El Chocky, Rob Struven, Diego Garcia, Gabriel Frias, Tony Boyd, Dr. Lakra, Steve Soto, Robert Atkinson, Mike, Roxi, Osiris, Stef De Bad, Dermafilia familia, Dan Chase, Indio Reyes, Chia, Krazy K, Tatu Baby, Khan, Javier Pina, Colin Dale, David Dettleoff, Jonathan Fernandez, Edgar Alvarez, Rich Martinez, Elvia Guadian, Paco Arias, Chuy Ortega, Electroshock, Pablo Ash, Kiki Platas, Liber Riot, El Chanok, Genziana, Jason Wheeler, Claire Octopus, Chamaco, Tony Mancia, Joe Romero, Ben Corn, Rojo, Paola Maria, Brian Everett, Vampiro, Juan Metal, El Chocky, Manuel Lorenzana, Paul Nguyen, Gator, Steph D., Rob Hill, Grim, El Buster, Manuel Valenzuela, Tracey, Tuich, Juan Arreguin, Kasuyoshi, Fide, Simone Pfaff, Justin Hendrick, Henri B., Yushi Takei, Homero Reyes, Jorge Issac Trujeque Gutierrez, Peque, Horikazu, Ricardo Mendez, Eric San, Federico Ruiz, Nervio, Colin Dale, Pedro Alvarez, Heidi Scheck, Mouse Lopez, Hector, Dermafilia familia, El Will, Nelson Acido Garcia, Morof, Tuer, Italia Ruotolo, Roxi Tattoo, Alex 'Kofuu' Reinke Horikitsune, Ina Trece, Sodapop, Karrona, Catalyst Butcher, Mike Sirot, Tofino Tattoo, Gajin Fujita, Steve Martin, Chino De Tepito, Will Contreras, Chuy Espinoza, El Whyner, Antonio Mejia, Listo Tj, Shane Tyner, Defer, Christina Ramos, Robert Cervantes, Shane Modica, Miguel Morales, Charlie Machete, Pedro Alvarez, El Sukre, Ching, Ocelotzin, Tony Chakal Serrano, Dawn Silva, JJ., Rudy Chee, Lorena Vuyovich, Carlos Macias, Chino De Tepito, Nelson Acido Garcia, Pedro Alvarez, Naualli Russo, Tatu Baby, Andres Juarez, Javier Hurtado, Tony Salgado, Horitaka, Aaron Hernandez, Melissa Reyes.

This superbly illustrated volume brings together the work of some the world's best manga illustrators, showcasing their exceptional talent across a diverse range of manga styles - such as Chibi, Kodomo, Shojo, Seinen, and more. The work of each artist is accompanied by a brief biography in which they reveal their inspirations, the challenges they face when creating work, and the processes and materials they use.

Featuring 150 iconic artworks, The National Gallery Masters of Art Puzzle Book is a visually spectacular puzzle challenge perfect for any art-enthusiast. This must-buy gift book contains 100 puzzles reproducing and inspired by the world's most famous paintings, making it a truly one-of-a-kind decorative delight. From pictorial puzzles such as Fake or Fortune, Jigsaw and Scrambled Image, to cryptic puzzles like Odd One Out or The Missing Link, through logic puzzles, riddles and even a series of progressively more difficult art knowledge quizzes, there is something for everyone, from the puzzle master to the art aficionado. Featured paintings include Sunflowers by Vincent van Gogh, The Fighting Temeraire by J.M.W. Turner, The Arnolfini Portrait by Jan van Eyck, The Hay Wain by John Constable, The Virgin of the Rocks by Leonardo da Vinci, Bathers at La Grenouillere by Claude Monet and many, many more.

This richly illustrated publication explores the lasting influence of Gainsborough's Blue Boy on British art and culture Marking the return of Gainsborough's Blue Boy to the UK exactly 100 years since it left for the United States, this richly illustrated publication will explore the lasting influence of this iconic painting on British art and culture. During the nineteenth century, the painting's fame grew and full-length portraits by Gainsborough and his contemporaries became much sought after by wealthy American collectors. The sale of The Blue Boy to the American railroad magnate and collector Henry E. Huntington in 1921 was unsurprisingly viewed as a national tragedy-emblematic of a shift in economic and cultural power. However, its afterlife, as a permanent ambassador for British art, has undoubtedly fed into ideas of Britain and Britishness-its history, society, culture and character-that still resonate today. Including a select group of paintings that demonstrate the profound influence of Sir Anthony van Dyck and the old master tradition on Gainsborough's practice and identity, Gainsborough's Blue Boy will examine this masterpiece within the context of the National Gallery's collection. Published by National Gallery Company/Distributed by Yale University Press Exhibition Schedule: The National Gallery, London January 25-May 15, 2022

The South African artist William Kentridge Hon RA was born in Johannesburg in 1955 and lives and works there to this day. He is internationally renowned for the expressionism of his work in numerous media, among them charcoal, printmaking, sculpture and film, as well as his acclaimed theatrical and operatic productions. As elusive as it is allusive, Kentridge's art is shaped by apartheid and grounded in the politics of the post-apartheid era, and in science, literature and history, while always maintaining space for contradiction and uncertainty. In a brilliant exposition of Kentridge's output, Stephen Clingman, Distinguished Professor of English at the University of Massachusetts, Amherst, undertakes a series of enquiries, of walks around the artist and his practice, through the various layers and linkages, crossings and connections of his art. As he proceeds, he considers Kentridge's themes, explores them and proceeds by association to others. Along the way, overlaps, thought-collages, allusions and assemblages come together to create a connective, dimensional way of thinking inspired by Kentridge's own habits of creation.

Female View puts the focus on women fashion photography. Although this medium has been shaped by female photographers for decades, a large number of publications or exhibitions have focused primarily on the male gaze of the female body. Numerous female fashion photographers worked for influential magazines such as Harper's Bazaar or Vogue, thus shaping the style of their time. Using exemplary positions, this book traces the transformation of the photographic image from the 1930s to the present day: from the fashion magazine to the showroom and the coffee table book to videos and digital self-staging in social media today. On display will be works by: Lillian Bassman, Sibylle Bergemann, Petra F. Collins, Corinne Day, Cass Bird, Madame d'Ora, Charlotte March, Ute Mahler, Sarah Moon, Amber Pinkerton, Regina Relang, Alice Springs (June Newton), Bettina Rheims, Ellen von Unwerth, and Yva.

The natural world as seen through the eyes of British artists including Eric Ravilious, Clare Leighton, and John Piper Since its publication in 1789, Gilbert White's Natural History and Antiquities of Selborne has inspired generations of artists, writers and naturalists. From Thomas Bewick to Eric Ravilious and Clare Leighton, many artists' depictions of animals, birds and wildlife have illustrated White's celebrated book, together providing a microcosm of natural history illustration from the eighteenth century until today. In Drawn to Nature, Simon Martin has gathered joyful and beautiful images of the extraordinary array of wildlife described by White, providing an insight into the continuing appeal and relevance of the Natural History. This fascinating account takes us from some of the earliest published depictions of birds and animals, to pioneering nature photography, the revival of wood-engraving in the 1920s and 30s, and responses to White's message about the natural world by contemporary illustrators such as Angie Lewin and Emily Sutton. The book also includes an introduction to the life of Gilbert White by Sir David Attenborough, an essay by Virginia Woolf, poems by modern and contemporary poets, and a jacket design by Mark Hearld. Distributed for Pallant House Gallery

Based on a 'national collection of the national instrument' now assembled in National Museums Scotland, this book offers an account of the musicology of the bagpipe in its European context, including the remarkable influence of the Baroque on Scotland's musical traditions. The record is meagre for the evolution of the bagpipe in Scotland and perceptions of the 'national instrument' have depended on a stereotype Great Highland Bagpipe assumed to have a continuous history from a distant past. The evidence, as far as it goes, suggests that Scotland adopted a 'great pipe' from the European bagpipe tradition and made it, through the strength of the Gaelic language and its music, very much its own. This edition does not have the accompanying CD-ROM of the first edition but is otherwise unaltered.

The Wilton House sculptures constituted one of the largest and most celebrated collections of ancient art in Europe. Originally comprising some 340 works, the collection was formed around the late 1710s and 1720s by Thomas Herbert, the eccentric 8th Earl of Pembroke, who stubbornly 're-baptized' his busts and statues with names of his own choosing. His sources included the famous collection of Cardinal Mazarin, assembled in Paris in the 1640s and 1650s, and recent discoveries on the Via Appia outside Rome. Earl Thomas regarded the sculptures as ancient - some of them among the oldest works of art in existence - but in fact much of the collection is modern and represents the neglected talents of sixteenth-and seventeenth-century artists, restorers and copyists who were inspired by Greek and Roman sculpture. About half of the original collection remains intact today, adorning the Gothic Cloisters that were built for it two centuries ago. After a long decline, accelerated by the impact of the Second World War, the sculptures have been rehabilitated in recent years. They include masterpieces of Roman and early modern art, which cast fresh light on Graeco-Roman antiquity, the classical tradition, and the history of collecting. Illustrated with specially commissioned photographs, this catalogue offers the first comprehensive publication of the 8th Earl's collection, including an inventory of works dispersed from Wilton. It re-presents his personal vision of the collection recorded in contemporary manuscripts. At the same time, it dismantles some of the myths about it which originated with the earl himself, and provides an authoritative archaeological and art-historical analysis of the artefacts.

This photo series captures moments of periphery in Croatian Istria with 26 bus stops. Documentary and conceptual, the photographic cartography approaches the different perceptions of the places. Ed Ruscha's methodology, and in particular his photographic series Twentysix Gasoline Stations, serve as a method and inspiration to examine the stops and their identity in the urban fabric. With this photographic concept as well as the texts, the observations are presented analytically and at the same time unfold a greater poetic meaning. How does it feel to live in the environs of urban reality? The book transmits the fascination for simple building methods, locations as well as the aesthetics of decay.

Lund Humphries, today, is known for publishing books on contemporary art and artists; few know that its roots are in a jobbing printers in Bradford. But Bradford, at the turn of the century, was no provincial backwater, but a city at the centre of the world's wool industry and Percy Lund Humphries was not merely a jobbing printer serving the local industry, but a progressive firm with ambitions well beyond the boundaries of Yorkshire. In its time it was to publish The Penrose Annual, an essential read for those interested in printing and the graphic arts and Typographica, the most avant garde journal on typography; it mounted extraordinary exhibitions in its grand London office in Bedford Square it carried type for languages across the world, crucial for the governments need for language textbooks for those serving overseas in WWII; and much more. A Pioneering Printer, Lund Humphries of Bradford tells its remarkable story.