Lewis Foreman Day (1845-1910) is one of the most neglected figures in late nineteenth-century design. In exploring Day's dual career as an industrial designer of extraordinary range and versatility and a major writer and critic, this well-illustrated book restores his place among the influential figures of his time. Day's relationships with colleagues William Morris, Walter Crane, W.A.S. Benson and others situated him in the vortex of developments of design in Britain. Design historian Joan Maria Hansen examines Day's work as a prolific industrial designer whose mastery of pattern, colour, ornament and superb draughtsmanship resulted in tiles and art pottery, clocks and furniture, wallpapers, textiles, stained glass, and interiors of remarkable diversity and beauty. Day embraced modern technology. His views on the role of the designer for industry, along with his unshakable belief that a marriage of design and industrial processes was essential to produce beautiful furnishings for the majority of p

Korean artists are a permanent fixture on today's international art scene, as interest in modern and contemporary art from South as well as North Korea has grown in strength. Museums and individual collectors eager to tap into this rising market are acquiring many more Korean artworks. But how are we to understand Korean art and its cultural significance? What has led to the formation of Korea's cultural scene as we know it today, and what role have artists played in this process? These are some of the questions that frame the narrative in this richly illustrated history of Korean art from the late nineteenth century to the present day - a period which coincided with enormous and rapid political, social and economic change. From artists' first encounters with oil paintings in the late nineteenth century to the varied and vibrant creative outputs of the 2000s, the book covers a critical and, from a cultural perspective, revolutionary period, signified by the breakdown of earlier artistic conventions and the rise of new art forms. Within this historical trajectory, Charlotte Horlyck explores artists' interpretations of new and traditional art forms ranging from oil and ink paintings to video art, multi-media installations, ready-mades and performance, and their questions about the role of art and the artist's position within society. This book will appeal equally to general and specialist readers wanting to explore this rich and fascinating epoch in Korea's cultural history.

Born in London in 1932, Howard Hodgkin is one of the foremost British painters of his generation. Painted on wood in thick swathes of colour, his paintings can often appear purely abstract. In fact, they are attempts to recapture the sensation of specific moments from the memory, and transform them into pictures that get to the-heart of being itself. Many of these paintings are based on Hodgkin's friends, and, are thus technically portraits, although Hodgkin makes no attempt to portray people realistically. Although a title and a specific outcome for a picture are chosen at the outset, the process of painting is often improvisatory built up from the application of spots, blobs, arcs and thick bands of intense colour. Published to accompany a major retrospective touring exhibition curated by Tate Director Sir Nicholas Serota, the book will be the most thorough survey of Hodgkin's career to date, giving new insights into the artist's motivations and technique.

The memoirs of Emilio Pettoruti ( La Plata 1892-Paris 1971) "A painter before the Mirror" was published a few years before the painters death. Not only do we witness the vicissitudes of his struggle in order to impose his works, but we also find key aspects of his aesthetic convictions. His ties with Futurism and Cubism, his appreciation of color and light, in short a conception of art that led him to evolve towards an original abstraction, as his last paintings so well demonstrate. His essential concepts about art and life are highlighted by an existence defined by his beliefs and passions." (extract of Fermn Fevre's foreword) In the artist-author own words: Art possesses a unique dimension, the one of infinity. That is its mystery, something marvelously indefinite and undefined which lies beyond science, our comprehension and our intellectual and physical truth. If I reach that point, my being, my strength, my faculties and my intellectual capacity will finally consider it sufficient.

Rosalind Brodsky, the alter ego of artist Suzanne Treister, is a delusional time traveller who believes herself to be working at the Institute of Militronics and Advanced Time Interventionality (IMATI) in the twenty-first century. "Hexen 2039" charts Brodsky's scientific research towards the development of new mind control technologies for the British Military, through a kaleidoscopic series of drawings, diagrams and photographs which are by turns baroque, challenging, comic, elegant, mysterious and intriguing. These works uncover or construct links between conspiracy theories, occult groups, Chernobyl, witchcraft, the US film industry, British Intelligence agencies, Soviet brainwashing, and behaviour control experiments of the US Army and its Civil Affairs and Psychological Operations Command (PSYOP), in light of alarming new research in contemporary neuroscience. An essay by Richard Grayson examines Treister's practice in detail. As a whole, this fascinating and complex body of work questions the way we look at history and the future, science, technology, politics, and narrative.

Published in association with the Peggy Guggenheim Collection and the Fondazione Cassa di Risparmio di Modena, this catalogue presents unpublished and remarkable photographs that will take readers on an extraordinary journey through the artistic milieu of the Venice Biennale from 1948 to 1986 featuring artists such as Leger, Ernst, Picasso, Mattisse, Dali, Fontana, Beuys, Oldenberg, Lichtenstein and Rauschenberg. In their time these photographs were featured in magazines such as Time and Life. Today, this repertory of photographs forms a remarkable contribution to the history of post-war culture. These photographs, depicting the most influential figures in modern and contemporary art, capture the artistic climate and fervour of the period in question and document the historical phases of the world's most prized international art exhibition.

This is a new monograph on the life and work of one of S Africa's finest 20th-century artists, who turned 91 last year. It is a valuable contribution to our literature on S African art and a timely publication, incorporating and expanding on insights and remarkable materials presented in Prof Muller Ballot's acclaimed 1996 monograph in Afrikaans. It positions artist's work in the broader context of contemporary S African and international art. A doyenne of S. African art has been celebrated as the artist of the mystical, ethereal, infinite, using universal shapes and harmonious colours.

According to the National Institute of Mental Health, more than half of the world's population will have a depressive disorder at some point in their lifetimes. In The Aesthetics of Disengagement Christine Ross shows how contemporary art is a powerful yet largely unacknowledged player in the articulation of depression in Western culture, both adopting and challenging scientific definitions of the condition. Ross explores the ways in which contemporary art performs the detached aesthetics of depression, exposing the viewer's loss of connection and ultimately redefining the function of the image. Ross examines the works of Ugo Rondinone, Rosemarie Trockel, Ken Lum, John Pilson, Liza May Post, Vanessa Beecroft, and Douglas Gordon, articulating how their art conveys depression's subjectivity and addresses a depressed spectator whose memory and perceptual faculties are impaired. Drawing from the fields of psychoanalysis as well as psychiatry, Ross demonstrates the ways in which a body of art appropriates a symptomatic language of depression to enact disengagement - marked by withdrawl, radical protection of the self from the other, distancing signals, isolation, communication ruptures, and perceptual insufficiency. Most important, Ross reveals the ways in which art transforms disengagement into a visual strategy of disclosure, a means of reaching the viewer, and how in this way contemporary art puts forth a new understanding of depression.

Howard Hodgkin is one of the foremost British painters of the last 100 years and his vivid, abstract works have been exhibited internationally for over four decades. His interest in attempting to capture and recreate moments of time and the fleeting impressions resulting from human interactions makes his approach in some ways more akin to that of the writer than the traditional painter. Perhaps for this reason his work has always had a resonance for those whose medium is primarily literary rather than visual. "Writers on Howard Hodgkin" gathers together for the first time the responses of a selection of leading novelists, critics, poets, travel writers and journalists to his paintings. Through the variety of voices it features and the range of literary approaches they employ, this collection provides remarkable new insights into Hodgkin's work, as well as examples of some of the most incisive writing on the arts to have been published in recent years. Illustrated in full colour, this is a unique combination of the visual and the written word and a fitting tribute to a remarkable artist. "Writers on Howard Hodgkin" includes writing by Julian Barnes, Bruce Bernard, William Boyd, Bruce Chatwin, James Fenton, Alan Hollinghurst, Anthony Lane and Susan Sontag, as well as newly commissioned texts by Enrique Juncosa and Colm Toibin.

The Belgian surrealist artist Rene Magritte redefined the way we think about art. Famous for his men in bowler hats, Magritte's witty and provocative work inspired generations of later artists, from Andy Warhol to Jasper Johns. In this illuminating new biography, Patricia Allmer radically repositions Magritte's work in relation to its historical and cultural circumstances. Allmer explores the significant influence of events and experiences in Magritte's early childhood and youth, recorded in his letters and essays: his memories of visiting fairs and circuses; of magical shows and performances; of the cinema; and in particular his first encounter with his future partner, Georgette, on a carousel. Allmer's analyses of these events and their influence on both well-known and less familiar images give new insights into Magritte's art. The book will appeal to those who wish to know more about Magritte's life and work, as well as the wide audience for Surrealism.

Bruce Nauman (1941 -) is arguably the most influential artist at work in the world today. His pioneering explorations of sculpture, performance, film, video, neon and sound art have seen him investigating areas of art practice years before his peers, providing inspiration for innumerable artistic careers. Nauman has always drawn on a wide range sources for his own work, including the philosophy of Wittgenstein, the music and writings of John Cage, Gestalt Therapy, and literary sources including Alain Robbe-Grillet, Elias Cannetti and Samuel Beckett. He has collaborated with a wide range of film-makers, musicians, dancers and artists including Jasper Johns, Richard Serra, Meredith Monk, Terry Allen and Merce Cunningham. In 1989 he married the artist Susan Rothernberg and moved his home and studio to a ranch in New Mexico, where he indulges an increasingly intense interest in training horses. He has exhibited internationally since the mid 1960s. Nauman will be the fifth artist to accept the challenge of taking on the cavernous space of Tate Modern's Turbine Hall in Autumn 2004, following on from Olafur Eliasson's mesmerising The Weather Project that utilised mist and an artificial sun to transform the space, and the vast, scarlet, trumpet-like shape of Anish Kapoor's Marsyas sculpture that stunned visitors in 2002-3. These Unilever-sponsored projects have become a bigger event in the calendar every year, attracting ever larger crowds and more extensive, international media coverage. The accompanying books, with incisive, accessible texts and dramatic installation photography, have been equally successful. Bruce Nauman will contain extensive illustrations of the works in the Turbine Hall exhibition, alongside working drawings by the artist and an essay by Emma Dexter that both surveys the works in the exhibition and provides an overview of Nauman's career to date. The book will function both as a record of a unique event and a key to understanding the work and motivation of one of the world's leading contemporary artists.

Interpreting Caro provides a lively, accessible introduction to the work of one of the world's leading sculptors. It covers Caro's ouevre from the early 1950s to the present day, and examines in detail the principal phases of his career. Intended both for the general reader and the Caro enthusiast, Interpreting Caro considers the artist's working methods, identifies his aims and concerns, and proposes ways of understanding and responding to particular sculptures and areas of activity. Moorhouse examines and explains the key, often dramatic, changes in Caro's working practice over five decades, including his rejection of the plinth and breakthrough to abstraction in the 1960s, the highly influential small-scale, work in the 1970s, and his adoption of a wide-range of media since the 1980s. Interpreting Caro is an invaluable overview of the career of this most influential of sculptors.

It is rare that a story comes along that sweeps you into its heart. Painstakingly handwritten over a three year period, it is the life story of William Zulu, a linocut artist, highly acclaimed for his evocative art-works. Having contracted spinal TB as a baby, William underwent misplaced corrective surgery to his spine in his late teens which left him paralysed and permanently wheelchair bound. William's story is no victim's litany. It recounts with zest and humour the events of his life, his unfolding artistic development and the world of deep rural Africa in which he is rooted. His artist's eye paints in the details of his world with vivid observation. This book is full of disarming lapses, diverting anecdotes - such as how he acquired a car in order to travel to Jo'burg in the hope of finding there a woman who might be more willing to love someone disabled. Weaving through the personal narrative is a strong political consciousnesss that sketches the fortunes of a country in violent transition, wracked by the ethnic rivalries that overshadowed every aspect of black life in the 1980s. William Zulu's writing is informed and articulate. He has an instinctive grasp of storytelling with pace. He conveys the unrelenting hardship of rural life and offers a fascinating window to the world of traditional Africa - with all its superstition, patriarchal rigidity and prejudices on the one hand, and its humour, shrewd observance and innovative survival strategies on the other. Reading his work, one is left with a strong sense of the battles for survival that pit ingenuity against lack of resources - and of the redemptive power of 'ubuntu' demonstrated in the kindness of strangers of all races, who extend helping hand and heart in the midst of penury. Spring Will Come is a story that lives up to its title.

This comprehensive survey introduces an exceptionally rich, fascinating, and complex art that has gained great popularity in recent years. Edward Lucie-Smith discusses all the major subjects and issues: magic realism, expressionism, and other concepts shared with Latin American literature; the great muralists Diego Rivera, David Alfaro Siqueiros, and Jose Clemente Orozco; the interaction of politics, society, and art; the continuing interest in folk art; and the dialogue between avant-garde European and North American movements and "indigenist" thinking in the work of artists such as Wifredo Lam, Matta, Rufino Tamayo, and Frida Kahlo. Many other artists from the 1900s to the present day are included in this compelling look at a great body of brilliantly original and imaginative art. For the second edition, the text has been updated and a new final section introduces some of Latin America's leading contemporary artists: Jose Bedia (Cuba/USA), Doris Salcedo (Colombia), Rube Bedia (Cuba/USA), Doris Salcedo (Colombia), Ruben Ortiz Torres (Mexico), Miguel Calderon (Mexico), Ernesto Neto (Brazil), Diana Domingues (Brazil), and Beatriz Milhazes (Brazil). Several of these artists make use of the latest in modern technology, including interactive installations, photographs, and video art.

The spry and devilishly creative pin-up elder-statesman Archie Dickens is back with a new compendium of cuties to delight an appreciative public. A contemporary of such artistic greats as Elvgren and Vargas, Mr. Dickens is still kicking, still making naughty portraits of young ladies in various states of undress - all with a sly smile and an innocent demeanor. Each illustration features a delightful damsel doing something perfectly ordinary, but in such an extraordinary way! Whether on the phone, on the beach, or on the prowl, Dickens makes these girls shine!

From 1950 to 1962, John Richardson lived near Picasso in France and was a friend of the artist. With a view to writing a biography, the acclaimed art historian kept a diary of their meetings. After Picasso's death, his widow Jacqueline collaborated in the preparation of this work, giving Richardson access to Picasso's studio and papers. Volume one of this extraordinary biography establishes the complexity of Picasso's Spanish roots; his aversion to his native Malaga and his passion for Barcelona and Catalan "modernisme". Richardson introduces new material on the artist's early training in religious art; re-examines old legends to provide fresh insights into the artistic failures of Picasso's father as an impetus to his sons's triumphs; and includes portraits of Apollinaire, Max Jacob and Gertrude Stein, who made up "The Picasso Gang" in Paris during the "Blue" and "Rose" periods.

As one of the founding poets and editors of the Language School of poetry and one of its central theorists, Barrett Watten has consistently challenged the boundaries of literature and art. In The Constructivist Moment, he offers a series of theoretically informed and textually sensitive readings that advance a revisionist account of the avant-garde through the methodologies of cultural studies. His major topics include American modernist and postmodern poetics, Soviet constructivist and post-Soviet literature and art, Fordism and Detroit techno--each proposed as exemplary of the social construction of aesthetic and cultural forms. His book is a full-scale attempt to place the linguistic turn of critical theory and the self-reflexive foregrounding of language by the avant-garde since the Russian Formalists in relation to the cultural politics of postcolonial studies, feminism, and race theory. As such, it will provide a crucial revisionist perspective within modernist and avant-garde studies.

A lighthearted exploration of pop culture's fascination with gag and practical joke novelty items celebrates the history of the industry, exploring the originality, if tastelessness, of such items as the Whoopee Cushion, the artificial ink spot, and the rubber chicken. It unearths the best, oddest, most intriguing novelties of 20th century.

The Royal Academy's popular Summer Exhibition has been an annual event since 1769. Today, around 1,000 works are selected each year from more than 10,000 entries by some 5,000 artists. The exhibition, which includes paintings, drawings, prints, sculpture, architectural design, and models, continues to be the largest open exhibition in the U.K. "The Royal Academy Illustrated, first published in the 1870s, presents the highlights of each year's show and is a fascinating barometer of changing artistic tastes.

Some of the most innovative art of the past decade has been created far outside conventional galleries and museums. In a parking garage in Oakland, California; on a pleasure boat on the Lake of Zurich in Switzerland; at a public market in Chiang Mai, Thailand - artists operating at the intersection of art and cultural activism have been developing new forms of collaboration with diverse audiences and communities. Their projects have addressed such issues as political conflict in Northern Ireland, gang violence on Chicago's West Side, and the problems of sex workers in Switzerland. Provocative, accessible, and engaging, this book, one of the first full-length studies on the topic, situates these socially conscious projects historically, relates them to key issues in contemporary art and art theory, and offers a unique critical framework for understanding them. Grant Kester discusses a disparate network of artists and collectives - including The Art of Change, Helen and Newton Harrison, Littoral, Suzanne Lacy, Stephen Willats, and WochenKlausur - united by a desire to create new forms of understanding through creative dialogue that crosses boundaries of race, religion, and culture. Kester traces the origins of these works in the conceptual art and feminist performance art of the 1960s and 1970s and draws from the writings of Mikhail Bakhtin, Jurgen Habermas, and others as he explores the ways in which these artists corroborate and challenge many of the key principles of avant-garde art and art theory.

The highlights of this book are:
- Important works of Mondrian
- Illustrations with an index for each work
- Details on each illustration with its size and where it is displayed

This book examines poetic adaptations of painterly techniques in works by writers such as Guillaume Apollinaire, Pierre Reverdy, Andre Breton, Frank O'Hara, and John Ashbery--all chosen for the experimentalism of their poetry as well as for the quality of their critical writings on art. Close attention is paid to essays on painters identified with Cubism, Futurism, and Dada-Surrealism in France and with Abstract Expressionism and New Realism in the United States. Selected poems are examined in light of the critical essays and are taken either as illustrations of a new plastic poetic or as novel hybrids of plastic and literary strategies. Although the parallels between modern poetry and painting go beyond avant-garde techniques, this book emphasizes such innovations as collage, chance operations, and automatism to demonstrate the shift in aesthetic attention from finished products to creative processes. |Sweet examines poetic adaptations of painterly techniques in works by writers such as Guillaume Apollinaire, Pierre Reverdy, Andre Breton, Frank O'Hara, and John Ashbery--all chosen for the experimentalism of their poetry as well as for the quality of their critical writings on art.

When one speaks of the "lost generation," it also includes Lotte Laserstein (1898-1993). After the National Socialists seized power, she was forced to leave Germany, and her exile resulted in her being forgotten. Laserstein's artistic career, however, began auspiciously: in 1927, she was the first woman to complete studies at the Berlin Academy of the Arts with distinction, and quickly made a name for herself in the art metropolis. While her works are close to Neue Sachlichkeit, they lack its cool, dissecting smoothness. Laserstein's selfassured view of the new woman, technical mastery, play with traditional and modern visual formulas, as well as her synthesis of objectivity and sensitivity give her pictures a captivating contemporaneity and time-transcending topicality.