This is the catalogue that accompanies a solo exhibition of the work of Domenec, an artist born in 1962 in Mataro, a town in Catalonia. The exhibition sets out to contemplate, through the artist`s work, how neoliberalism destroys social projects with its escalation of individualism. In doing so it offers a retrospective of Domenec`s work from the late 1990s to the present, and includes some new projects. Using certain emblematic buildings or monuments as referents, Domenec analyses the proposals of the modern movement and its legacy within contemporary practice. Supporting his research are projects in situ, installations, maquettes, photographs, workshops, seminars and videos. Based on various local contexts, his work establishes a dialogue with other international themes to highlight the impact on the present of the utopian ideas that resulted from the Industrial Revolution, and are seen as a stand against capitalism. The rise of an urban proletariat in the C19 led to discourses and social models based on social justice and egalitarianism. Utopian communism and socialism developed architectonic models promoting a concept of coexistence in the urban space based on services to the community and better living conditions. Domenec investigates these exemplary systems and the breakdown of what he calls the ` fragile contract between capital and the social body` . The transformations of the socio-political circumstances generated by these systems can also lead, at times, to changes of usage and the creation of dystopic models. Social housing turned into military barracks or internment camps; statues of circumstantial heroes that were pulled down because of their meaning, or counter meaning; or the absurdity of a ghost city used for military training in urban warfare, but never officially recognized, are some of the cases used by Domenec to investigate the dysfunctions of the processes of modernity and the political accounts marginalised by these narratives. In other words, the breakdown of a social project that has become, as a result of neoliberalism, the exacerbation of individualism. Domenec`s work gives voice to the protagonists of that story, to unofficial discourses, and avoids the dominant narratives to bring back memory

Born in Cotonou, Benin in 1961, Meschac Gaba moved to the Netherlands in 1996 to take up a residency at the Rijksakademie. It was there that he conceived The Museum of Contemporary African Art 1997-2002, an ambitious work, which took him five years to complete and which cemented his reputation as one of the most important African artists working today. Consisting of twelve sections - Draft Room, Architecture, Museum Shop, Summer Collection, Games Room, Art and Religion, Museum Restaurant, Music Room, Marriage Room, Library, Salon and Humanist Space - this work challenges preconceived notions of what African art is and provides a new discursive space for social and cultural interaction, critiquing the museum's value both as an institution, and as a symbol of cultural capital. The importance of this work, in the history of African art and in the lineage of critical reflections on the museum by artists such as Marcel Duchamp and Marcel Broodthaers, has been widely acknowledged in important exhibitions ranging from Documenta XI, Kassel in 2002 to Intense Proximity: La Triennale, Paris in 2012. Tate has now acquired this work. This book will be published on the occasion of the first presentation of Gaba's Museum of Contemporary African Art in its entirety in the UK. Contributions by leading scholars will place this important work in the context of the artist's oeuvre, art history and museology.

Featuring decorative, religious, and utilitarian objects from the Geometric period to the Hellenistic Age, this is the ideal introduction to Greek sculpture Introducing eight centuries of Greek sculpture, this latest addition to The Met's compelling and widely acclaimed How to Read series traces this artistic tradition from its early manifestations in the Geometric period (ca. 900-700 BCE) through the groundbreaking creativity of the Archaic and Classical periods to the dramatic achievements of the Hellenistic Age (323-31 BCE). The 40 works of art featured represent a broad range of objects and materials, both sacred and utilitarian, in metal, marble, gold, ivory, and terracotta. Sculptures of deities and architectural elements are joined by depictions of athletes, animals, and performers, as well as by funerary reliefs, perfume vases, and jewelry. The accompanying text both provides insight into Greek art as a whole and illuminates centuries of Greek life. Detailed commentaries on each work and an overview of major themes in Greek art offer a fascinating, object-focused introduction to one of the most influential cultures in Western civilization. Published by The Metropolitan Museum of Art/Distributed by Yale University Press

This catalogue documents the first exhibition in the Middle East by KAWS (Brian Donnelly, born 1974, USA). The solo show explores his career and vast oeuvre and features paintings and sculptures made over the past 20 years. KAWS' imagery has long possessed a sophisticated, dark humour, revealing the interplay between art and consumerism, referencing both art history and pop culture. Donnelly began his career in street art in the 1990s, becoming synonymous with the name KAWS, a tag that became a staple in his 'sub-vertisments' (modifications of commercial works). In addition to more than 40 major pieces exhibited in the Garage Gallery, examples of commercial collaborations designed by KAWS, among them sneakers, skateboards, and toys are on view in a separate archive above Cafe 999. A massive 5-meter-tall sculpture, COMPANION (PASSING THROUGH) (2013), in the Fire Station courtyard and an inflatable 40-metre public artwork at the Dhow Harbour, HOLIDAY (2019), also serve to highlight the exhibition.

This engaging exploration of the Maya pantheon introduces readers to the complex stories of Mesoamerican divinity through the stunning carvings, ceramics, and metalwork of the Classic period Focusing on the period between A.D. 250 and 900, Lives of the Gods reveals that ancient Maya artists evoked a pantheon as rich and complex as the more familiar Greco-Roman, Hindu-Buddhist, and Egyptian deities. The authors show how this powerful cosmology informed some of the greatest creative achievements of Maya civilization, represented here from the monumental to the miniature through more than 140 works in jade, stone, and clay. Thematic chapters supported by new scholarship on recent archaeological discoveries detail the different types of gods and their domains, the role of the divine in the lives of the ancient Maya, and the continuation of these traditions from the colonial period through the present day. Published by The Metropolitan Museum of Art/Distributed by Yale University Press Exhibition Schedule: The Metropolitan Museum of Art, New York (November 21, 2022-April 2, 2023) Kimbell Art Museum, Fort Worth, TX (May 7-September 3, 2023)

Mildred and Robert Woods Bliss, the founders of Dumbarton Oaks, were not, per se, collectors of American art. Nevertheless, they acquired interesting and, at times, important examples of American paintings, drawings, etchings, and sculptures. Such acquisitions were but a part of an overall collection which comprised ancient Chinese, Greek, Roman, Byzantine, Pre-Columbian, and European old master artworks as well as rare books, literary manuscripts and correspondence, important furnishings, unusual bibelots, and concert-quality instruments. The American artworks that remain at Dumbarton Oaks offer an important insight into the Blisses remarkable breadth of vision for their collection.

This volume catalogues the American art collection at Dumbarton Oaks and is published in conjunction with an exhibition, American Art at Dumbarton Oaks. An introductory essay describes the formation of this collection by Mildred and Robert Woods Bliss and their parents Anna and William H. Bliss, while the subsequent catalogue entries elaborate on nineteen artworks by James Abbott McNeill Whistler, Elihu Vedder, Walter Gay, Childe Hassam, Albert Edward Sterner, Henry Golden Dearth, and Bernice Cross. Richly illustrated with color plates and comparative illustrations, this catalogue will be an important and enduring reference for scholars, students, and admirers of American art.

Kettle's Yard, Cambridge, exhibition catalogue on the internationally renowned Chinese artist Ai Weiwei (b. 1957, Beijing) in which new and existing work will be shown alongside historic Chinese objects. The exhibition will explore notions of truth, authenticity and value, as well as globalisation, the coronavirus pandemic and the current geopolitical crisis. Ai Weiwei will reflect upon the liberty in the West, in contrast to China and other authoritarian regimes, to question truth and authority, express doubt and seek transparency in political matters. However, in relation to art appreciation, the Chinese have a long tradition of a more fluid and less fixed view in relation to authenticity than is the case in the West, often valuing the act of copying.

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.

Prospect New Orleans is a citywide contemporary art triennial that was conceived in the aftermath of Hurricane Katrina. Emphasising collaborative partnerships and site-specificity, Prospect presents artwork by local, national, and international artists in both traditional and highly unexpected environments. In the third iteration of this major exhibition, star curators Naima Keith and Diana Nawi bring together 51 artists to engage New Orleans as context as they reconsider the concept of history, both global and local. Through many artistic strategies, architectural interventions, and public activations, the exhibition explores current social and political conditions that ask for a reconsideration of the past. The accompanying catalogue a rich collection of contributions from curators, poets, artists, and cultural critics considers several key themes that animate the ambitious artist projects: landscape and the natural world; history and haunting; ritual and performance; intimacy, life, and death.

Documenting an alternative history and social commentary by Bangkok's graffiti and street artists, this insightful and thought-provoking book offers fresh insight into Thai subcultures. Not given a platform elsewhere, street art and graffiti gives artists the opportunity to protest the social injustices they encounter. Through their art, they speak out against dictators and the political elite, as well as the extensive gentrification sweeping Bangkok. In addition, this book is the only visual record of (what was sarcastically named) "Thailand's Stonehenge": standing pillars covered in graffiti along the abandoned Hopewell elevated rail line that was supposed to link the city to the airport, a $3 billion dollar project begun in 1990 and mired in corruption. The pillars - the only part of the project that was built - represent the overwhelming corruption that marks the past 20 years in Thailand. They are scheduled to be demolished this year.

In 1960, John Rewald took over the task of researching and collating Cezanne's oeuvre, following the death of Lionello Venturi, publisher of the first catalogue on Cezanne in 1936. The result is this catalogue raisonne, treating the 954 paintings accepted by Rewald. The plate volume reproduces all 954 paintings, with titles, dimensions and dates, and is chronologically arranged by Rewald's new dating and numbering, with the works grouped by subject. Walter Feilchenfeldt introduces the book's history and issues of dating, chronology and authenticity. Each painting is accompanied by a detailed commentary, which draws on an enormous variety of sources, and for over half the paintings, the commentary consists of a lengthy essay. Of special interest are the 200 documentary photographs integrated with the entries, which provide the scholar and admirer of Cezanne's work with much fascinating visual information, including biographical portraits, landscape motifs and objects found in Cezanne's studio. Fifty-eight magnificent colour reproductions of the largest paintings also appear in this volume, which concludes with important indices of owners, exhibitions and works; an extensive bibliography; and a concordance of Venturi and Rewald numbers. The mass of information and insight provided by catalogue raisonne makes it an essential reference for scholars, curators, collectors and librarians.

Man Ray, surrealist master and exponent of the Dada movement, managed to reinvent not only the photographic language, but also the representation of the body and face, as well as the genres of the nude and the portrait themselves. This book brings together around 200 photographs produced from the 1920s right up to his death in 1976, all featuring female subjects.Through rayographs, solarisations and double exposures, the female body undergoes a continual metamorphosis of forms and meanings, becoming an abstract form, an object of seduction, classical memory or realistic portrait, in endless playful and refined variations. Among the protagonists of his shots are Lee Miller, Berenice Abbott, Dora Maar and Juliet, a lifelong companion, to whom is dedicated the amazing The Fifty Faces of Juliet portfolio (1943-1944). But these women were, in turn, great artists: as evidence is presented here a corpus of works dating back to the time - between the 1930s and '40s - of their most direct association with Man Ray and with the environment of the Dada avant-garde and Parisian surrealism. This volume offers a wide survey of one of the most exuberant periods of the 20th century, with authentic masterpieces of photographic art such as the Electricite portfolios (1931) and the very rare Les mannequins. Resurrection des mannequins (1938). Text in English and Italian.

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)

TEXTURES synthesises research in history, fashion, art, and visual culture to reassess the "hair story" of peoples of African descent. A fraught topic for African-Americans and others in the Diaspora, artists, barbers, and activists address the topic of Black hair,both the historical perceptions and its ramifications for self and society today. TEXTURES explores the breadth of Black artists' perspectives on hair vis-a-vis beauty, pride, and politics. Barbers and activists address Black hair, from historical perceptions to its challenges today. Combs, products, and implements from the collection of hair pioneer Willie Morrow are paired with masterworks from artists like David Hammons, Sonya Clark, Lorna Simpson, Mickalene Thomas, and Alison Saar. The exhibition & catalogue are inspired by Drs. Ellington and Underwood who research preferential treatment of straight hair, the social hierarchies of skin, and the power and politics of display.