Georg Baselitz's collected writings brings together more than 30 texts by, and interviews with, the artist - spanning the period 1961 to the present - including conversations with Michael Auping, Henry Geldzahler and Donald Kuspit. Known for his rebellious approach to Abstract Expressionism, Baselitz here discusses the impression his paintings convey, the act of painting, his biography and much more. The texts shift between these personal pieces - some of which have never before been published in English - to interviews conducted by a variety of respected critics and art historians. These conversations present a different voice as Baselitz responds to careful and critical questions about his work.

Contemporary art biennials are sites of prestige, innovation and experimentation, where the category of art is meant to be in perpetual motion, rearranged and redefined, opening itself to the world and its contradictions. They are sites of a seemingly peaceful cohabitation between the elitist and the popular, where the likes of Jeff Koons encounter the likes of Guy Debord, where Angela Davis and Frantz Fanon share the same ground with neoliberal cultural policy makers and creative entrepreneurs. Building on the legacy of events that conjoin art, critical theory and counterculture, from Nova Convention to documenta X, the new biennial blends the modalities of protest with a neoliberal politics of creativity. This book examines a strained period for these high art institutions, a period when their politics are brought into question and often boycotted in the context of austerity, crisis and the rise of Occupy cultures. Using the 3rd Athens Biennale and the 7th Berlin Biennale as its main case studies, it looks at how the in-built tensions between the domains of art and politics take shape when spectacular displays attempt to operate as immediate activist sites. Drawing on ethnographic research and contemporary cultural theory, this book argues that biennials both denunciate the aesthetic as bourgeois category and simultaneously replicate and diffuse an exclusive sociability across social landscapes.

The Royal Pavilion and Museums Trust cares for five venues in Brighton and Hove, including the spectacular Royal Pavilion, a royal palace created by George IV as his summer retreat, designed in its final form by John Nash in a Moghul Indian style and set in landscaped picturesque gardens. The Trust's other venues are Brighton Museum and Art Gallery that holds important local history and archaeology, world art, and decorative art collections; Preston Manor a large house preserved in the Edwardian style with a beautiful walled garden; The Booth Museum of natural history; and Hove Museum and Art Gallery. The Trust cares for around one million objects, many of international importance and covering a wide range of subjects and types. In this enjoyable and richly illustrated guide, Hedley Swain, the Trust's CEO, shares highlights from The Trust's vast collections.

A beautifully illustrated showcase of the rich and varied ceramic tradition of Iran Featuring a broad selection of objects from one of the most distinguished collections of Iranian art, this volume brings together over 1,000 years of Persian Islamic pottery. With more than 500 illustrations, authoritative technical treatises, and insightful commentary, Ceramics of Iran assembles a collection of rarely seen treasures from the Persian world and presents a collective history of its renowned ceramic tradition. Included among its comprehensive catalogue entries are numerous translations of the object's inscriptions, providing readers with a richer and more detailed understanding of the cultural heritage from which these items are derived. In addition, the book contains new research and material from previously unknown sites. Featuring all new photography of nearly 250 objects, Ceramics of Iran brings the extraordinary contributions of Persian art into a wider historical context, along with a wealth of images to demonstrate the full scope of its intricate beauty. Distributed for the Sarikhani Collection

Analysing the decorative programmes of the most opulent European palaces of the time, Margaretha Rossholm Lagerloef investigates how meaning was conveyed through display and visual effects. She explores the visual meaning inherent in the scheme of spatial relations; in effects of scale, perspective, lighting, figures' positions and postures; and in relations among image types. The analysis concerns the interrelations of various kinds of images in the ensembles; the relations between images and physical site; and the address to the beholder. Lagerloef considers the visual impact of the imagery in conjunction with 'readable' or symbolically 'coded' meanings; thus, the study does not merely subject these decorations to formalist aesthetic principles. She shows the visual meaning generally to sustain the verbal or readable messages, but often in subtle ways, extending or elaborating the meaning. Occasionally, the visual meaning comes forth as an undercurrent or complication, deviating from the proclaimed and symbolic meaning. Fate, Glory, and Love in Early Modern Gallery Decoration contributes to the body of scholarship on visual rhetoric and on how images 'act' out their messages.

An incisive history revealing Britain's conquest of the Kingdom of Benin and the plunder of its fabled Bronzes. The Benin Bronzes are among the British Museum's most prized possessions. Celebrated for their great beauty, they embody the history, myth and artistry of the ancient Kingdom of Benin, once West Africa's most powerful, and today part of Nigeria. But despite the Bronzes' renown, little has been written about the brutal imperial violence with which they were plundered. Paddy Docherty's searing new history tells that story: the 1897 British invasion of Benin. Armed with shocking details discovered in the archives, Blood and Bronze sets this assault in its late Victorian context. As British power faced new commercial and strategic pressures elsewhere, it ruthlessly expanded in West Africa. Revealing both the extent of African resistance and previously concealed British outrages, this is a definitive account of the destruction of Benin. Laying bare the Empire's true motives and violent means, including the official coverup of grotesque sexual crimes, Docherty demolishes any moral argument for Britain retaining the Bronzes, making a passionate case for their immediate repatriation to Nigeria.

Focusing on production and patronage, this new volume features over 150 images of magnificently illustrated books and precious bindings, drawn largely from North American collections. The book's three sections are arranged chronologically, yet in each case with a different thematic focus. Opening with a look at the precedents set by the Carolingian forerunners of the Empire, the first section considers deluxe imperial manuscripts associated with the Ottonian emperors. The second section examines the role of imperial monasteries in the production of manuscripts, considering in particular the patronage of aristocratic elites. The final section offers a tour of imperial cities in the fourteenth and fifteenth centuries, from Vienna and Prague to Augsburg and Nuremberg. This final stop considers the impact of Albrecht Durer and humanism on the arts of the book. The volume features a glossary, indexes, and maps showing the shifting borders of the Empire over 700 years.

Unthought Environments brings together art influenced by the forces that are integral to our daily lives, yet are easily forgotten or overlooked, such as the ancient elements of air, fire, water, and earth; weather systems; geopolitics; and the hidden physical components of our virtual world. Informed by media studies, ecology, and philosophy, these multi-media artworks explore the elemental sphere as it intersects with the human-made. This exhibition catalog brings together images from the exhibition alongside texts that engage directly with the works as well as the larger issues that drive them. Essays by Karsten Lund, John Durham Peters, Keller Easterling, Ina Blom, Marissa Lee Benedict, Revital Cohen and Tuur Van Balen, and Peter Fend are included, as well as a conversation with Lund, Nicholas Mangan, Robin Watkins, and Nina Canell.

This book accompanies the first exhibition entirely of Jamaican art to take place in the north-west of the UK. The exhibition, Jamaica Making: The Theresa Roberts Art Collection, is sited at the Victoria Gallery and Museum, Liverpool in 2022, and is a comprehensive presentation of the best of Jamaican art since the 1960s. The Theresa Roberts Art Collection is the private collection of Theresa Roberts, a Jamaican-born businesswoman and philanthropist, who has made the UK her home. This collection offers an important insight into the development of Jamaican art since the country gained independence in 1962. Indeed, the exhibition also acts to commemorate the 60th anniversary of Jamaican independence in 2022. Included in the book are the following: an official welcome from the Prime Minister of Jamaica; an essay by the collector, exhibition donor and philanthropist, Theresa Roberts; an introduction by eminent British-Jamaican art historian, Edward Lucie-Smith; essays by Emma Roberts, the exhibition curator (Liverpool John Moores University), Davinia Gregory-Kameka, writer, educator and researcher (Columbia University, USA) and Sireita Mullings, arts practitioner and visual sociologist (University of Bedfordshire). The final section of the book is the full visual catalogue of the Jamaica Making exhibition - a unique record of this historic exhibition. An Open Access edition of this book is available on the Liverpool University Press website and the OAPEN library.

A critical reconsideration of the history of photography that explores how commerce and conflict fueled its practice in nineteenth-century China Photography's development as a new form of art and technology coincided with profound changes in the way China engaged with the world in the nineteenth century. The medium evolved in response to war, trade, travel, and a desire for knowledge about an unfamiliar place. Power and Perspective provides a rich account of the exchanges among photographers, artists, patrons, and subjects in the treaty port cities that connected China and the West. Drawing primarily from the Peabody Essex Museum's historic and largely unpublished collection of photographs, this generously illustrated volume examines the confrontations and collaborations that shaped the adoption and practice of photography in China. Offering an original reassessment of the colonial legacy of the medium, Power and Perspective addresses photography's representations of racial hierarchy and its entanglement with histories of European imperialism in nineteenth-century China. Distributed for the Peabody Essex Museum Exhibition Schedule: Peabody Essex Museum, Salem, MA (September 24, 2022-April 2, 2023)

The links between the Royal Botanic Garden Edinburgh and India go back for two and a half centuries. Surgeons who had studied botany at the Garden laid the foundations of western knowledge of the Indian flora. Supplementing their written plant descriptions with botanical drawings, commissioned from Indian artists, they established collections which survive today at Edinburgh, the Natural History Museum and the Royal Botanic Gardens, Kew. This book tells the story of these collections, reproducing a selection of 86 exquisite, original drawings - including examples made in all three of the Presidencies (administrative units) of British India (Bombay, Bengal and Madras), between 1770 and 1860.

A fascinating view of the career of Bridget Riley, one of the most significant living artists, through her personal archive of her own works on paper Devoted exclusively to the artist's works on paper, Bridget Riley Drawings: From the Artist's Studio explores the importance of these works not only as a means of visual experimentation but as works of art in their own right. Throughout her working life, Riley has preserved works of particular significance, creating an archive that records her constant artistic inquiry and development. The studies presented in the book are drawn entirely from this personal collection, with Riley's own input. They demonstrate the artist's progression from early figurative works, through the monochrome geometry of the 1960s, to the examination of color that has characterized the second half of her long career. The choice of work explores the themes that have absorbed Riley in different periods and highlights key influences: the importance of life drawing to her and the significance of artists such as Seurat and Mondrian. The book illustrates-literally and figuratively-the story of a productive and constantly experimental career, underpinned by drawing. Distributed for Modern Art Press Exhibition Schedule: The Art Institute of Chicago (September 17, 2022-January 16, 2023) Hammer Museum, Los Angeles (January 29-May 7, 2023) The Morgan Library & Museum, New York (June 16-October 22, 2023)

Modernism, referring to the period dating roughly from the late 19th century to 1970, is regarded as a crucial moment in the history of American art. Although Modernist artists adopted a wide range of styles, they were linked by a desire to interpret a rapidly changing society and to cast aside the conventions of representational art. Some, such as Stuart Davis and Joseph Stella, responded to consumerism, urbanism and industrial technology; others, such as Arthur Dove and Georgia O'Keeffe, found inspiration in nature and the Native American culture of the Southwest. This magnificent new book presents the works of the Vilcek Collection, an unparalleled private collection of American Modernist paintings, drawings and sculpture. Art historian Lewis Kachur explores almost 100 rarely seen works by 20 leading artists active during the first half of the last century, while William C. Agee contributes an incisive introduction. Lavishly illustrated throughout, Masterpieces of American Modernism provides an outstanding overview of the radical shift in art driven by this major aesthetic movement.

Traces the feminist icon Carolee Schneemann's prolific six-decade output, spanning her remarkably diverse, transgressive, and interdisciplinary expression Carolee Schneemann (1939-2019) was one of the most experimental artists of the twentieth and early twenty-first centuries. This book traces six decades of the feminist icon's diverse, transgressive and interdisciplinary expression through Schneemann's experimental early paintings, sculptural assemblages and kinetic works; rarely seen photographs of her radical performances; her pioneering films; and groundbreaking multi-media installations. Contributors shed new light on Schneemann's work, which addressed urgent topics from sexual expression and the objectification of women to human suffering and the violence of war. An artist who was concerned with the precarious lived experience of both humans and animals, this book positions Schneemann as one of the most relevant, provocative and inspiring artists in recent years. Published in association with Barbican Art Gallery Exhibition Schedule: Barbican Art Gallery, London (September 8, 2022-January 8, 2023)

The first in a series of four thematic volumes devoted to the world-class Kramlich Collection, the largest and most significant private collection of modern and contemporary media art. How does art respond to contemporary social questions? How, especially, does moving-image art address the themes that move us most? Drawn on works from the Kramlich Collection of time-based media art, The Human Condition comments on a range of complex political issues such as civil war, psychological isolation, human rights, gender relations, nuclear catastrophe and planetary degradation. Along the way, the featured artists innovate in their hybrid use of sound, image, performance, sculpture and screen technology. Since their first acquisition in 1987, pioneering collectors Pamela and Richard Kramlich have established one of the foremost international collections of media, video, film, slide, photography and performance art. In the first of four volumes devoted to the collection, The Human Condition presents signature works by internationally recognized artists such as Marina Abramovic, Doug Aitken, Dara Birnbaum, James Coleman, Pierre Huyghe, William Kentridge, Christian Marclay, Steve McQueen, Richard Mosse, Bruce Nauman, Shirin Neshat and Nam June Paik. The Human Condition also features newly commissioned essays from leading curators and scholars specializing in time-based media art, including Erika Balsom, Bill Brown, Adrienne Edwards, Chrissie Iles, Isaac Julien, Barbara London, Mark Nash, Catherine Wood and others. This book engages both newcomers and experts in the field with captivating imagery and rigorous reflection on some of the most influential contemporary art practices of the 20th and 21st centuries.

A lavishly illustrated monograph that spans the entire career of Gerhard Richter, one of the most celebrated contemporary artists "Spans the contemporary German artist's six-decade career. . . . [A] stirring exhibition in [its] own right."-New York Times "[A] weighty catalogue... illuminat[es] some less-visited corners of Richter's oeuvre."-New York Review of Books Over the course of his acclaimed 60-year career, Gerhard Richter (b. 1932) has employed both representation and abstraction as a means of reckoning with the legacy, collective memory, and national sensibility of post-Second World War Germany, in both broad and very personal terms. This handsomely designed book features approximately 100 of his key canvases, from photo paintings created in the early 1960s to portraits and later large-scale abstract series, as well as select works in glass. New essays by eminent scholars address a variety of themes: Sheena Wagstaff evaluates the conceptual import of the artist's technique; Benjamin H. D. Buchloh discusses the poignant Birkenau paintings (2014); Peter Geimer explores the artist's enduring interest in photographic imagery; Briony Fer looks at Richter's family pictures against traditional painting genres and conventions; Brinda Kumar investigates the artist's engagement with landscape as a site of memory; Andre Rottmann considers the impact of randomization and chance on Richter's abstract works; and Hal Foster examines the glass and mirror works. As this book demonstrates, Richter's rich and varied oeuvre is a testament to the continued relevance of painting in contemporary art. Published by The Metropolitan Museum of Art/Distributed by Yale University Press Exhibition Schedule: The Met Breuer, New York (March 4-July 5, 2020) Museum of Contemporary Art, Los Angeles (August 14, 2020-January 19, 2021)

Crafting Democracy: Fiber Arts and Activism calls upon craft, during an era of political disruption, as a creative force to voice dissent, express hope, critique the curtailment of civil rights, and to restore dignity to the human experience. The essays and artwork featured in this exhibition catalogue are framed within the context of American democracy and disclose how we, as individuals and as a culture, "craft democracy" and ultimately question what democracy means today. This is the catalogue of an exhibition held at Harold Hacker Hall, Central Library of Rochester [New York] & Monroe County: August-October, 2019. Juilee Decker is associate professor of museum studies at Rochester Institute of Technology. Her publications include the 3rd edition of Museums in Motion: An Introduction to the History and Functions of Museums (2017) and the four-volume series Innovative Approaches for Museums (2015). Hinda Mandell is associate professor in the School of Communication at Rochester Institute of Technology and is a co-editor of Nasty Women and Bad Hombres: Gender and Race in the 2016 U.S. Presidential Election (University of Rochester Press, 2018). She is editor of Crafting Dissent: Handicraft as Protest from the American Revolution to the Pussyhats (forthcoming with Rowman & Littlefield).

Creativity has no boundaries, geographic or otherwise, which is what the 15 international artists of The Line Art Challenge, set out to prove when they embarked on an artistic feat to each produce 100 sketches in 100 days. Based in 11 different countries, the artists used modern communication methods to share their work and motivate and inspire each other across continents to reach their collective goal of 1,000 traditional sketches. While the final drawing tally was 850, the resulting artwork from this challenge is remarkable in its diversity and complexity: fantastic warriors, menacing space beasts, Gigeresque villains, and whimsical everyday heroes are among the characters you ll meet in this unique collection."

I carry my landscapes around with me focuses on American abstract artist Joan Mitchell's large-scale multipanel works from the 1960s through the 1990s. Mitchell's exploration of the possibilities afforded by combining two to five large canvases allowed her to simultaneously create continuity and rupture, while opening up a panoramic expanse referencing landscapes or the memory of landscapes. Mitchell established a singular approach to abstraction over the course of her career. Her inventive reinterpretation of the traditional figure-ground relationship and synesthetic use of color set her apart from her peers, resulting in intuitively constructed and emotionally charged compositions that alternately evoke individuals, observations, places, and points in time. Art critic John Yau lauded her paintings as "one of the towering achievements of the postwar period." Published on the occasion of the eponymous exhibition at David Zwirner New York in 2019, this book offers a unique opportunity to explore the range of scale and formal experimentation of this innovative area of Mitchell's extensive body of work. It not only features reproductions of each painting in this selection as a whole, but also numerous details that allow an intimate understanding of the surface texture and brushwork. In the complementing essays, Suzanne Hudson examines boundaries, borders, and edges in Mitchell's multipanel paintings, beginning with her first work of this kind, The Bridge (1956), considering them as both physical and conceptual objects; Robert Slifkin discusses the dynamics of repetition and energy in the artist's paintings, in relation to works by Monet and Willem de Kooning, among others.