Published on the occasion of the eponymous exhibition, Let me consider it from here features color reproductions of artworks by Saul Fletcher, Brook Hsu, and Tetsumi Kudo and transcriptions of the audio works of Constance DeJong, alongside newly commissioned poems by Geoffrey G. O'Brien, Simone White, and Lynn Xu, and an epilogue by Solveig Ovstebo. These artists frequently draw from their own histories, humors, and instincts as they grapple with or reimagine what's happening in the world around them. Across a range of mediums, their works open up spaces that oscillate between strange and familiar, registering deeply personal experiences as well as more ambient cultural and political pressures. Their practices are all similarly anchored in solitude and stretch outward to meet the world, guiding us to the liminal realms between the public and the intimate, the concrete and the fantastical.

- The first volume to explore the staggering collection of Jane and Kito de Boer- Functions as an introduction to Indian modernism, with strong representations of several individual artists as well as major movementsModern Indian Painting presents a survey of Indian painting from the late 19th century to the present day, drawn from the private collection of Jane and Kito de Boer remarkable for its broad historical scope and wide range of artists. The book clearly delineates major developments over a long period of time, while contextualizing them with previously unpublished examples by major artists. The first part of the book features the de Boers talking about their passion for India and Indian art. The second part presents a history of modern Indian painting, with essays on the Bengal School, the so-called 'Dutch Bengal' artists, the Calcutta naturalists, the portrait painters of the Bombay School in the early 20th century, the Progressive Artists Group and the post-Independence artists of Bengal. The de Boer collection also contains strong representations of a few individual artists, such as Chittaprosad, Ganesh Pyne, Ramachandran and Broota, whose works are explored through essays and interviews. The fact that many of these chapters draw almost exclusively on the de Boer collection is a testament to its incredible size and breadth. In this volume, we hope to show how the collection takes a dispassionate view of the global status of Indian art, while at the same time revealing a commitment and long-term engagement with the country and its creativity. With contributions from Partha Mitter, Giles Tillotson, Yashodhara Dalmia, Sona Datta, Sanjay Kumar Mallik and Rob Dean.

New exhibition catalogue on Belgian artist Marcel Broodthaers. Marcel Broodthaers's work is characterized by a complex exploration of the relationship of text and image. This catalog raisonne, prepared by WIELS and developed in close collaboration with the Marcel Broodthaers Succession, is the first to include all of the Belgian conceptual artist's industrial poems created between 1968 and 1972. Borrowing from the aesthetics of industrially manufactured plastic signs, Broodthaers's multi-layered, often enigmatic pictorial poems testify to his interest in the entanglements of language, punctuation, and symbols. In blurring the boundaries between word and image, painting and object, new levels of meaning are made visible. The index is supplemented by a collection of Broodthaers's drawings, writings and "open letters" as well as scholarly contributions that position the poems as a crucial group of works within the artist's oeuvre.

An exclusive tour of one of the most diverse and high-quality collections of Scottish Wemyss Ware. Lavish illustrations cover an impressive range of Wemyss subjects - animals, flowers, insects, birds and more. Includes an essay on Wemyss production by historian Carol McNeil, as well as an introduction by collection owner George Bellamy. Wemyss Ware is an evocative name to anyone with an interest in pottery. It conjures grinning cats and pot-bellied pigs, jugs and plates and other items of tableware, often decorated with an intricate pink cabbage rose or other such bucolic scenes. Produced in Kirkcaldy, Scotland, from 1882 to 1930 (and in Bovey Tracy, England, 1930-1952), Wemyss Ware has an illustrious history. From the Wemyss family, the patrons of this pottery line; to the Queen Mother and Prince Charles, Wemyss Ware has caught the eye of many individuals of note. Among these was George Bellamy, now a legendary collector of Scottish Wemyss, who has been seeking out his pieces since 1976. A treasure trove of Wemyss Ware, this book catalogues a collection lovingly compiled over decades. Carol McNeil's essay traces the history of the Fife Pottery where Wemyss Ware saw its debut, while Bellamy's introduction guides the reader through several of the key figures involved in the locating and preserving of these works of art. Scottish Wemyss Ware 1882-1930 celebrates the labour, design and artistry that poured into each hand-decorated pot. Often inspired by the Fife countryside where they first originated, these characterful creations are just as delightful now as when they were first produced. This book was produced with the invaluable assistance of John Mackie, Director of Lyon & Turnbull.

In a 1985 series of "Lectures on one's own country: Germany", given at the Munich Kammerspiele, Joseph Beuys said that he developed his work "from language." He regarded language as equal to visual art-a flexible material through which every individual could physically, intellectually, and communicatively participate in the process of re-ordering society. His exploration of language ranges from silence to hours of debate, from animal sounds to precise discussions of concepts and puzzling writings. Accordingly, the chapters are divided into the themes of "silence," "sounds," "concepts," "writing," "mystery," "legends," and "speech." Both exhibition and catalogue assemble sculptures, drawings, installations, films, posters, and documents from the Nationalgalerie, the Sammlung Marx, the Kupferstichkabinett, and the Art Library of the Staatliche Museen zu Berlin. Texts by: Claudia Ehgartner, Barbara Gronau, Kolja Kohlhoff, Maja Naef, Stefan Ripplinger, Nina Schallenberg, Holger Schulze, Tobias Vogt, Matthias Weiss, and Wiese.

The first retrospective monograph on internationally acclaimed Danish artist's collective Superflex, "An Artist with 6 Legs" catalogues the group's work from 1993 to 2013. The first major museum retrospective for this group--known for their participatory, politically engaged projects which they call "tools"--is appropriately unconventional, comprised of eight individual retrospectives curated by Eungie Joo, Yuko Hasegawa, Toke Lykkeberg, Daniel McClean and Lisa Rosendahl, Adriano Pedrosa, Agustin Perez Rubio, Hilde Teerlinck and Rirkrit Tiravanija. Kunsthal Charlottenborg also signed a contract prohibiting the institution, the artists or the curators from mentioning the group by name during the exhibition's run--hence the replacement of the name "Superflex" with a black bar or the characters "XXXXXXX throughout the catalogue. "An Artist with 6 Legs" is both conceptual provocation and an essential reference.

One of the most prestigious contemporary art awards, the Marcel Duchamp Prize was created in 2000 by the ADIAF, Association for the international diffusion of French art which groups together 400 contemporary art collectors rallied around the French scene. Its ambition is to bring together the most innovative artists and help them raise their international profile. Each year, the Marcel Duchamp Prize is awarded to one of four artists, either French or living in France, all of them working in the field of the plastic and visual arts. Since the outset, this collectors' prize benefits from a close partnership with the Centre Pompidou who invites the four nominated artists for a 3-month group show in its Galerie 4. The winner is chosen by an international jury of collectors and directors of leading institutions. Text in English and French.

This volume commemorates a new exhibition of Burmese artifacts at the Musee Guimet in Paris and showcases the vibrant art and manuscript traditions of Myanmar. The central pieces displayed in the exhibition were three richly illustrated manuscripts called parabaiks. These vivid paintings, which show lively festivals and the pageantry of daily religious and courtly life, are a window into the culture and customs of nineteenth-century Burma. Also in the exhibition were a number of other manuscripts, inscriptions, diagrams, and even an ornate wooden model of a traditional Burmese monastery. The accompanying essays-translated from the original French exhibition booklet-explore complexities of the Burmese language, manuscript production, and background of the exhibited items as well as explaining the festivities and other spirited scenes illustrated in the parabaiks.

The extraordinary story behind Manet's portrait of his only pupil Eva Gonzales, placed within the broader context of women painters of the period Edouard Manet (1832-1883) only ever had one formal pupil, Eva Gonzales (1849-1883). The daughter of a prominent writer, she entered Manet's studio aged 19. He portrayed her the year they met and exhibited the ambitious full-length portrait at the Paris Salon of 1870, at which Gonzales also displayed her own work, for the first time, to positive reviews. The first in a new series of Discover titles, in which a single work of art in the National Gallery's collection is reconsidered from a fresh perspective, this book reveals the extraordinary story behind Manet's portrait by examining it in the context of women's artistic practice in nineteenth-century Paris, Gonzales's development as a professional painter, and Manet's career in 1870. Combining new art historical research with engaging essays on women artists and their representation in visual culture, Discover Manet & Eva Gonzales provides a richly illustrated, in-depth study of Manet's portrait and offers a groundbreaking viewpoint on both artists. Published by National Gallery Global/Distributed by Yale University Press Exhibition Schedule: Hugh Lane Gallery, Dublin June 1-September 18, 2022 The National Gallery, London October 21, 2022-January 15, 2023

First opened in 1873, the Victoria and Albert Museum's Cast Courts were purpose built to house copies of architecture and sculpture from around the world. They contain some of the Museum's largest objects, including casts of Trajan's Column (shown in two halves) and the twelfth century Portico de la Gloria from the cathedral at Santiago de Compostela. Among the Museum's most popular galleries, the Cast Courts are an extraordinary expression of Victorian taste, ambition and public spirit. Published to celebrate the opening of the refurbished Cast Courts at the V&A, this book presents a fresh perspective on the Museum's diverse collection of reproductions including plaster casts, electrotypes and photographs.

The use of museum collections as a path to learning for university students is fast becoming a new pedagogy for higher education. Despite a strong tradition of using lectures as a way of delivering the curriculum, the positive benefits of 'active' and 'experiential learning' are being recognised in universities at both a strategic level and in daily teaching practice. As museum artefacts, specimens and art works are used to evoke, provoke, and challenge students' engagement with their subject, so transformational learning can take place. This unique book presents the first comprehensive exploration of 'object-based learning' as a pedagogy for higher education in a broad context. An international group of authors offer a spectrum of approaches at work in higher education today. They explore contemporary principles and practice of object-based learning in higher education, demonstrating the value of using collections in this context and considering the relationship between academic discipline and object-based learning as a teaching strategy.

Belgian colonialism in the Congo. Antisemitism in Austria. Turbo-nationalism in former Yugoslavia. Over the last two centuries, these three historic lines of violence and annihilation (re)enforced a process of oblivion that to this day prevents a processing of the genocides they caused. Today involuntary or performed amnesia again threatens to destroy what has already come to a point of possible coexistence. This catalogue goes back to these traumatic events in history and the recent past, which had such a violent impact on communities and people, states and territories, and confront them with a system of interventions. The scars that remain after atrocities, although hidden and obliterated, are recovered through artistic, scientific, and political reflections. Exhibition details: Weltmuseum Wien October 8, 2020 - April 3, 2021

Accessible, informative guide to one of Te Papa's most popular permanent art exhibitions. The portrait wall in Toi Art, the art gallery within New Zealand's national museum, Te Papa, is the most popular art exhibition for museum visitors. Hung salon-style on dark red walls, its 36 arresting portraits span historical portraiture to contemporary practice, and represent mana. Some trumpet the status of European royalty, Maori leaders, or prosperous colonial settlers in New Zealand. Others advertise the skills of the artist. All carry stories from the past into the present. This handy book details each work in both English and te reo Maori and is the perfect souvenir of a visit to Te Papa and an ideal starting point for exploring questions of art, identity, and cross-cultural exchange.

In Animation Sketchbooks, fifty of the leading contemporary talents working in independent animation offer a glimpse into their private sketchbooks. During the conceptual stages of their projects, these groundbreaking and award-winning artists employ a variety of mediums to exercise their creativity, including pencil, paint, collage, puppetry, and photography. Each artist shares a selection of their craft along with personal insights into their influences and the artistic processes behind their unique sketches, character studies, storyboards, and doodles. The range of visions and techniques on display provide endless inspiration and allow a rare insight into the scope of the animator's art.

This book celebrates the bee in all its humble glory, and does so in a completely original way. It has long been a dream of art director Iris Rombouts to produce an art book that sheds new light on our familiar surroundings and our daily food in particular. And what better way to do that than with the bee, the most important creature to humans on earth? Not only is this small insect indispensible to our food chain - it pollinates over 80% of all flowering plants and 70 of the top human food crops - but it is also a source of inspiration for architects, writers, artists and even whole cities. This book celebrates the bee in all its humble glory, and does so in a completely original way. With a preface by author Jeroen Olyslaegers. We see the bee represented by old masters and contemporary artists, by insectobsessed Renaissance man Jan Fabre, by Joseph Beuys and his Honey Pump and by Tomas Libertiny with his beeswax sculptures. There is the ceramic piece of art 'The Wall' by Carla Arocha and Stephane Schraenen, with its repetitive structure that reminds of a honeycomb. Fashion, too, is represented: designer Harm Van Zwolle chose the bee as his muse, proving that the beekeeper s outfit can become a covetable piece of clothing. The book is as multi-faceted as the eye of the bee. It pays homage to Maurice Maeterlinck, winner of the Nobel Prize for Literature, who tells the most inspiring tales about the life and death of the bee. It explores the mythical powers of the Apis Mellifera, and invites passionate beekeepers from all over the world to share their vision and show that there is much more to the bee than honey. The book also explains how the beehive inspired architects Le Corbusier and Frank Lloyd Wright to create stunning buildings that will impress many generations to come. As readers, we explore the feather-light steel building 'The Hive' by Wolfgang Buttress, and travel to Manchester, the city that chose the bee as its symbol and has shown to be every bit as courageous and resilient as the insect itself. All these weird and wonderful stories are accompanied by the work of talented photographers such as Stephen Mattues, Diego Franssens, studioEAST, Mark Haddon, Stephen Goodenough, Joao Sousa, Filip Van Roe, Wout Hendrickx and Iris herself. With this book, Iris Rombouts has created a joyful, brilliant mix of stories, photography and art, with the bee as the well-deserved star of the show.

How do you keep the cracks in Starry Night from spreading? How do you prevent artworks made of hugs or candies from disappearing? How do you render a fading photograph eternal--or should you attempt it at all? These are some of the questions that conservators, curators, registrars, and exhibition designers dealing with contemporary art face on a daily basis. In Still Life, Fernando Dominguez Rubio delves into one of the most important museums of the world, the Museum of Modern Art in New York, to explore the day-to-day dilemmas that museums workers face when the immortal artworks that we see in the exhibition room reveal themselves to be slowly unfolding disasters. Still Life offers a fascinating and detailed ethnographic account of what it takes to prevent these disasters from happening. Going behind the scenes at MoMA, Dominguez Rubio provides a rare view of the vast technological apparatus--from climatic infrastructures and storage facilities, to conservation labs and machines rooms--and teams of workers--from conservators and engineers to guards and couriers--who fight to hold artworks still. As the MoMA reopens after massive expansion and rearranging of its space and collections, Still Life not only offers a much-needed account of the spaces, actors, and forms of labor traditionally left out of the main narratives of art, but it also offers a timely meditation on how far we, as a society, are willing to go to keep the things we value from disappearing into oblivion.

In The Miserable Lives of Fabulous Artists, Chris Orr turns his humorous gaze on some of the most famous - and fabulous - artists of the past. With over 30 new works, accompanied by Orr's captions, artists from Edward Hopper to Pablo Picasso find themselves in weird and wonderful situations. Edvard Munch holidays at the seaside, John Constable RA is disturbed at his easel by frolicking nudists and there's an unfortunate incident in Barbara Hepworth's studio... No one can escape Orr's imagination: Walter Sickert is distracted from a spreadeagled model by a fly in his soup, Dame Laura Knight RA is caught shoplifting, and Frida Kahlo enjoys a fry-up. Each image is packed with detail to pore over, and the book concludes with notes from the artist, accompanied by preparatory drawings for the finished work. This new collection, published to coincide with an exhibition of Orr's works at the Royal Academy of Arts, is a charming romp which affectionately pokes fun at well-loved artists.

Asier Mendizabal (b. Ordizia, Guipuzkoa, 1973) is a new generation Basque artist who pays special attention to the relations between form, discourse and ideology. His oeuvre could be described as a critique of ideology, based on the mise en scne of the structures that shape it. Through art, rock music, cinema, politics and theory, his view on social structures leads him to sketch out a map of the totality of production relationships. Asier Mendizabal's transversal, multidisciplinary approach focuses sharply on the difficulties of representation inherent in the political, as well as on the gaps between artistic activity and the "political unconscious" in cultural production and mass movements.