Over the past decade, Frank Bowling has enjoyed belated attention and celebration, including a major Tate Britain retrospective in 2019. This comprehensive monograph, published in 2011, is now available in an updated and expanded edition. Born in British Guiana in 1934, Bowling arrived in England in his late teens, going on to study at the Royal College of Art alongside David Hockney and Derek Boshier. By the early 1960s he was recognised as an original force in the vibrant London art scene, with a style that brilliantly combined figurative, symbolic and abstract elements. Dividing his time between New York and London since the late 1960s, he has developed a unique and virtuosic abstract style that combines aspects of American painterly abstraction with a treatment of light and space that consciously recollects the great English landscape painters Gainsborough, Turner and Constable. In a compelling text the art writer, critic and curator Mel Gooding hails Bowling as one of the finest British artists of his generation.

Considering how culturally indispensable digital technology is today, it is ironic that computer-generated art was attacked when it burst onto the scene in the early 1960s. In fact, no other twentieth-century art form has elicited such a negative and hostile response. When the Machine Made Art examines the cultural and critical response to computer art, or what we refer to today as digital art. Tracing the heated debates between art and science, the societal anxiety over nascent computer technology, and the myths and philosophies surrounding digital computation, Taylor is able to identify the destabilizing forces that shape and eventually fragment the computer art movement.

An edited collection of essays exploring the work and legacy of the academic and theatre-maker Clive Barker. Together, the essays trace the development of his work from his early years as an actor with Joan Littlewood's company, Theatre Workshop, via his career as an academic and teacher, through the publication of his seminal book, Theatre Games (Methuen Drama). The book looks beyond Barker's death in 2005 at the enduring influence of his work upon contemporary theatre training and theatre-making. Each writer featured in the collection responds to a specific aspect of Barker's work, focusing primarily on his early and formative career experiences with Theatre Workshop and his hugely influential development of Theatre Games. The collection as a whole thereby seeks to situate Clive Barker's work and influence in an international and multi-disciplinary context, by examining not only his origins as an actor, director, teacher and academic, but also the broad influence he has had on generations of theatre-makers.

Hierdie publikasie gee ’n volledige beeld van die kunstenaar Frans David Oerder (1867–1944) se oeuvre – sy Anglo-Boereoorlogtekeninge, landskappe, genrestukke, portrette, blomstudies en stillewes, interieurs, dierestudies en grafiese werk. Geen moeite is ontsien om hierdie boek so volledig en betroubaar moontlik te maak nie. Argivale bronne in die Kunsargief van die Universiteit van Pretoria, die Argief van die Johannesburg Kunsmuseum en die Nasionale Argief van Suid-Afrika in Pretoria het grootliks bygedra tot die toevoeging van inligting oor hierdie kunstenaar wat nie voorheen bekend was nie. Dieplakboek van Gerda Oerder en ’n lang lesing met detailinligting oor Oerder se vroee lewe deur mev. Lorimer in die Kunsargief van die Universiteit van Pretoria het bygedra tot ’n nuwe vertolking van die lewe en werk van hierdie belangrike Suid-Afrikaanse kunstenaar. Tydens die Anglo-Boereoorlog was Oerder die enigste amptelike kunstenaar aan Boerekant, maar tot dusver is nog geen volledige geskiedenis van sy deelname aan die oorlog geskryf nie. In hierdie boek word Oerder se Anglo-Boereoorlogtekeninge nou vir die eerste keer so volledig moontlik afgedruk en beskryf.

Rejecting broad-brush definitions of post-revolutionary art, What People Do with Images provides a nuanced account of artistic practice in Iran and its diaspora during the first part of the twenty-first century. Careful attention is paid to the effects of shifts in internal Iranian politics; the influence of US elections, travel bans and sanctions; and global media sensationalism and Islamophobia. Drawing widely on critical theory from both cultural studies and anthropology, Mazyar Lotfalian details an ecosystem for artistic production, covering a range of media, from performance to installations and video art to films. Museum curators, it is suggested, have mistakenly struggled to fit these works into their traditional-modern-contemporary schema, and political commentators have mistakenly struggled to position them as resistance, opposition or counterculture to Islam or the Islamic Republic. Instead, the author argues that creative artworks neutralize such dichotomies, working around them, and playing a sophisticated game of testing and slowly shifting the boundaries of what is acceptable. They do so in part by neutralizing the boundaries of what is inside and outside the nation-state, travelling across the transnational circuits in which the domestic and diasporic arenas reshape each other. While this book offers the valuable opportunity to gain an understanding of the Iranian art scene, it also has a wider significance in asking more generally how identity politics is mediated by creative acts and images within transnational socio-political spheres.

In this remarkable, inspiring collection of essays, acclaimed writer and critic Olivia Laing makes a brilliant case for why art matters, especially in the turbulent political weather of the twenty-first century. Funny Weather brings together a career's worth of Laing's writing about art and culture, examining their role in our political and emotional lives. She profiles Jean-Michel Basquiat and Georgia O'Keeffe, reads Maggie Nelson and Sally Rooney, writes love letters to David Bowie and Freddie Mercury, and explores loneliness and technology, women and alcohol, sex and the body. With characteristic originality and compassion, she celebrates art as a force of resistance and repair, an antidote to a frightening political time. We're often told that art can't change anything. Laing argues that it can. Art changes how we see the world. It makes plain inequalities and it offers fertile new ways of living.

Highlighting both the relevance of Banksy's street art and how his impact has continued to spread, Planet Banksy brings together some of the very best pieces of art from all corners of the world that have been inspired by Banksy, as well as featuring some of his own innovative, profound and controversial work. 'A thought-provoking comparison with the works of his students.' Publishers Weekly ______ Banksy is the world's foremost graffiti artist, his work adorning streets, walls and bridges across nations and continents. His stencil designs are instantly recognizable and disturbingly precise in their social and political commentary, flavoured with subtle humour and self-awareness. More popular than ever, Banksy has spawned countless imitators, students and fans alike, his fame - although unlooked-for - inevitably transmitting his ideas and work to the international arena. With a range of topics for the graffiti lover, coming from a variety of inspirational sources, this book provides an overview of how Banksy's work is changing the face of modern art - as well as the urban landscape. Distilling his influence and his genius into an easily accessible full-colour 128 pages, this is the perfect purchase for any fan of Banksy or the graffiti art scene.

Stephanie J. Smith brings Mexican politics and art together, chronicling the turbulent relations between radical artists and the postrevolutionary Mexican state. The revolution opened space for new political ideas, but by the late 1920s many government officials argued that consolidating the nation required coercive measures toward dissenters. While artists and intellectuals, some of them professed Communists, sought free expression in matters both artistic and political, Smith reveals how they simultaneously learned the fine art of negotiation with the increasingly authoritarian government in order to secure clout and financial patronage. But the government, Smith shows, also had reason to accommodate artists, and a surprising and volatile interdependence grew between the artists and the politicians. Involving well-known artists such as Frida Kahlo, Diego Rivera, and David Alfaro Siqueiros, as well as some less well known, including Tina Modotti, Leopoldo Mendez, and Aurora Reyes, politicians began to appropriate the artists' nationalistic visual images as weapons in a national propaganda war. High-stakes negotiating and co-opting took place between the two camps as they sparred over the production of generally accepted notions and representations of the revolution's legacy-and what it meant to be authentically Mexican.