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Taking their cue from Okwui Enwezor’s title for the 56th International Art Exhibition of la Biennale di Venezia, All the world’s futures, Rose and Till present an array of works by artists who are deeply invested in local iterations of power, freedom, and civil liberty. The curators wish not only to represent recent, important work from South Africa, but also to set in motion a complex and dynamic debate about the relationship between the contemporary moment and the narratives of the past. With this in mind, they have sought ways of inserting new works into a series of historic moments without, in any way, making those moments explicit or suggesting a crass opposition to or identification with history. Rather, they see—and seek to represent—the past as an alluvial undertow in South Africa’s fractured and multivocal present, a stream of dreams, desires, and memories that frequently boil to the surface in ways both useful and destructive. The contemporary works on the exhibition pose a series of counter moves. Some are little interested in history and focus instead on ruptures in the present. Some embed themselves in regurgitated narratives of liberation and national identity with the view to unsettling the certainties of these narratives. Some, through their representation of the fraught particularities and singularities of individual lives, interrogate the grand myths of democracy and nation building. Some are subtle meditations on loss or escape or hope; others, strident refusals of the normative. Given the strength of the works to be presented, the curators face the challenge of saying too much or offering too confused an experience of the works and their disparate imperatives. They thus bring to bear on the conceptualising of this exhibition, their combined experience—from work in the public sector, the management of museums and biennales, curatorship, architecture, gallery and museum design—of locating and communicating a strong but multilayered curatorial idea that encourages critical debate and brings fresh insights to our own particular contemporary moment.
In the east end of the inner city of Johannesburg, a former textiles factory undergoes a dramatic transformation to become, over the next several years, one of the city’s foremost artists’ studios. When the sale of the building seems imminent, not only must the artists face the daunting prospect of relocation, but a remarkable chapter in the complex narrative of contemporary South African art seems about to close. Sensing the importance of this moment, Kim Gurney, herself a former tenant of the atelier, follows the stories of several of the August House denizens through some of the artworks that came to life in their studios. The result is a fascinating study of the role of the atelier and its artists in South Africa’s fractious art world, and a consideration of the relationship between art and the ever-changing city of Johannesburg.
With the eye of an urbanist, artist and resident, Kim Gurney [constructs] a compelling assemblage of individual, visual and urban narratives brilliantly illuminates the complex life of a building, August House, located in inner city Johannesburg. Her cast of characters—artists, workers, neighbours, August House and the city—lend poignant contours to the ebbs and flows of daily life,the pressures of gentrification, the ruthlessness of poverty, the radicality of the imagination and the ghosts of history.
This almanac of overlooked vintage subject matter has an emphasis on art, design, photography and culture. With an extensive array of rare images, Outr Journal presents a curated compendium of the unusual that takes its cues from cabinets of curiosities and journals of miscellany such as The Saturday Book of old. The focus on underground topics and pop culture extends across time and continents to include highlights such as: religious architecture in the Space Age, found photos and images of masked people, Satan, pop culture and many more.
In June of 2010, William Kentridge asked Denis Hirson to join him in a public conversation at the opening of Cinq Thèmes, the artist’s retrospective exhibition at the Jeu du Paume in Paris. So fruitful was this event that the two decided to have further conversations, public and private, whenever the time and the occasion seemed right. Nine engagements followed, allowing them to explore at great length the many issues and themes arising from Kentridge’s work. These conversations, in which a writer and an artist grapple with the enormous complexities of making art, grow out of a friendship that stretches back to the 1980s and that is deeply entwined in the fortunes of the city where they both grew up and the country that is the wellspring of their work.
Born in Cambridge in 1951, Denis Hirson lived in South Africa until the age of twenty-two, studying social anthropology at the University of the Witwatersrand in Johannesburg. In 1975 he settled in France, where he has worked as an actor and lecturer at the École Polytechnique. He has written seven books, almost all of them at the frontier between prose and poetry and concerned with memories of South Africa in the time of apartheid. The most recent of these is the novel The Dancing and the Death on Lemon Street. He has also assembled and edited three anthologies of South African writing, including In the Heat of Shadows: South African poetry 1996–2013. Ma langue au chat, a book in French about the delight and torture experienced by an Anglophone when speaking and writing in French, is forthcoming from Les Éditions du Seuil in October 2017.
William Kentridge was born in Johannesburg, South Africa in 1955. He is a graphic artist, filmmaker and theatre artist renowned for his humanist and poetic perspective on apartheid, colonialism and totalitarianism, and on their lingering effects. Best known for his allegorical animations of charcoal drawings that he erases and appends frame by frame, Kentridge has explored disciplines ranging from sculpture to books, stereoscope to opera. His works are included in numerous international collections, including the Museum of Modern Art, New York; Tate Modern, London; the Metropolitan Museum of Art, New York; the San Francisco Museum of Modern Art; the Stedelijk Museum, Amsterdam and the Albertina Museum, Vienna. His acclaimed production of Wozzeck travels to the Metropolitan Opera, New York, for the 2019–20 season.
While almost everybody knows Ludwig Bemelmans' Madeline, the fact that the illustrator published over forty other titles remains a well-kept secret. The first title in Thames & Hudson's brand-new series, this book offers a visually rich insight into the life and work of this important artist and writer. Ludwig Bemelmans grew up under the Austro-Hungarian empire and emigrated to the United States in his late teens, just escaping the outbreak of the First World War. His illustrations for the Madeline books offer a classic vision of Paris that has created a lasting impression on millions of readers. And every illustrator would love to know how he conveyed all the emotions of a spirited little girl drawn with just a few lines and dots; how did he achieve such clarity in simplicity? Laurie Britton Newell's illustrated essay gathers material from Bemelmans' diverse oeuvre, from novels, autobiographical stories, humorous articles and comic strips to murals and menus for hotels and restaurants. The book makes accessible this mesmerizing material, which is otherwise lost to the public, and connects it to the artist's intriguing life. An icon of a fascinating era, Bemelmans through his magical work gives us glimpses of a life that embodied both hard work and glamour, in Paris and New York.
This visually stunning survey provides an in-depth look at Eileen Hogan's (b. 1946) working methods. Covering her entire career, it focuses particularly on two dominant themes in the artist's oeuvre-enclosed gardens and portraiture. Her depictions of gardens range from London's well-known Kew Gardens and Chelsea Physic Garden to Little Sparta, Ian Hamilton Finlay's garden in the Pentland Hills near Edinburgh. Her portraits include expressive sketches and paintings of veterans of the Second World War, and of HRH The Prince of Wales and HRH The Duchess of Cornwall. The book includes images from Hogan's sketchbooks, her studies, and finished paintings, accompanied by striking photographs of the artist at work. Essays by scholars and Hogan herself trace the artist's career from her student days at Camberwell School of Arts and Crafts through the present. This volume provides an unprecedented, intimate look at the life and work of one of the most interesting and evocative artists working today.
28 Paradises is a rare book: it reveals not only the individual talents of the authors, Modiano and Zehrfuss, but also the depth of the couple's creative union. Sensitively translated into English for the first time by Damion Searls, 28 Paradises captures the exquisite sadness of waking from a beautiful dream. There are twenty-eight dreams in this book, or perhaps one dream in twenty-eight parts-visions of paradise imagined by Zehrfuss during a time of deep sadness. Captured first in Zehrfuss's brightly colored gouaches, each paradise was then refashioned as a poem by Modiano. Zehrfuss's paintings are Edens in miniature, and rather than describe them outright, Modiano dreams himself into these reveries in quiet, understated verse. The reader enters this shared realm in an experience less like paging through a book and more like slipping into a shared world. These paradises are wishes for moments when a painting, or a poem, or a lover-perhaps they are not so different-relieves the loneliness of being human. As Modiano writes with a touch of wistfulness, "The Lilliputian painted her paradises / And I / Next to her / Wrote a poem." A pure example of ekphrastic writing-poetry inspired by paintings- this book shows how writing and visual art can together create a unique emotional experience.
Before Damien Hirst stuffed a shark, before Basquiat picked up a spray can, before Andy Warhol started The Factory, a pile of unwanted Jackson Pollocks changed everything. From them emerged the first major modern art dealer. It was 1947, and the art world would never be the same. From the early days on 57th Street, to the rise of SoHo in the 60s, to the emergence of Chelsea as the hotbed of art galleries, we see the meteoric rise and the devastating falls of the most renowned dealers: Larry Gagosian, David Zwirner, Arne Glimcher, and Iwan Wirth. With unparalleled access, the longtime Vanity Fairreporter tells us the story of contemporary art through the people who coddled, supported, and funded the likes of Jeff Koons, and Cy Twombly. It's a story of backstabbing, betrayals, fruitful partnerships, genius, and ever larger sums of money. The world of contemporary art is inextricable from the wild wealth and naked financial opportunism that surrounds it.
Indonesian art entered the global contemporary art world of independent curators, art fairs and biennales in the 1990s. By the mid-2000s, Indonesian works were well-established on the Asian secondary art market, achieving record-breaking prices at auction houses in Singapore and Hong Kong. This comprehensive overview introduces Indonesian contemporary art in a fresh and stimulating manner, demonstrating how contemporary art breaks from colonial and post-colonial power structures, and grapples with issues of identity and nation-building in Indonesia. Across different media, in performance and installation, it amalgamates ethnic, cultural and religious references in its visuals, and confidently brings together the traditional (batik, woodcut, dance, Javanese shadow puppet theatre) with the contemporary (comics and manga, graffiti, advertising, pop culture). Spielmann's Contemporary Indonesian Art surveys the key artists, curators, institutions and collectors in the local art scene, and looks at the significance of Indonesian art in the Asian context. Through this book, originally published in German, Spielmann stakes a claim for global relevance of Indonesian art.
As artists push further and further beyond their, and our, comfort zones, this book aims to help decipher the bizarre and often intimidating aspects of modern and contemporary art by exploring twenty works of art in terms of seven `keys'. History, biography, aesthetics, experience, theory, criticism and the market represent conventional `modes of existence' for every artwork discussed, but in a fascinating variety of ways. Simon Morley shows how twenty well-known but little-understood works of art can serve as useful springboards not only for understanding each other, but also for appreciating works by the same artists, and from the wider world of art in general. Rather than proceeding on the basis of familiar art `movements' or `-isms', Morley focuses on just twenty individual works of art, from Matisse's The Red Studio to Doris Salcedo's Untitled. Representing a variety of media, styles, subjects and intentions, being the creations of men and women of different periods and places, coming from disparate social and ethnic backgrounds, these works show a rich diversity in modern and contemporary art.
New Hardcover Edition! Deceived by the forces of evil into prematurely bringing about the end of the world, WAR - the first Horseman of the Apocalypse - battles both Heaven and Hell across the ravaged remains of Earth, searching for vengeance and vindication. Showcasing the unparalleled artwork of Joe Madureira (X-men, Battle Chasers, Ultimates) and the Vigil Games art team, The Art of Darksiders features hundreds of full-color illustrations, character and environment designs, development sketches, early concepts, promotional artwork, and more.
First published to accompany Piano Nobile's exhibiton at Piano Nobile Kings Place, Thomas Newbolt: Drama Paintings - A Modern Baroque, this fully colour illustrated book presents a substantial publication on contemporary artist Thomas Newbolt. Newbolt's dedication to the figure in art, and the vitality of his work have gained him international recognition. An artist of talent and intellectual integrity, he was Harkness Fellow at the University of Virginia and the University of Wisconsin, and a Fellow-Commoner at Trinity College, Cambridge, as well as a respected teacher at Camberwell, Anglia Ruskin and The Royal Drawing School, London. Recent exhibitions include Ely Cathedral, the Estorick Collection, and a group show, Vital Signs, at Clifford Chance in 2015. His work is held in major international public collections. With essays by Mark Hudson, arts critic at the Telegraph, Professor Maurice Biriotti, and Martin Gayford, critic at the Spectator, this catalogue provides fresh insight into the work of this most enigmati and powerful of artists. Lavishly illustrated and beautifully designed as a work of art in its own right, Thomas Newbolt: Paintings is a reflection on Newbolt's career thus far, and a testament to the significance of his work. The publication includes three essays, a catalogue of works selected by Thomas Newbolt, a chronologyof the artist's career and an index.
Visual Music is a one-of-a-kind guided tour through the visual art of creative polymath Brian Eno. Featuring more than 300 images of Eno's installation, light, and video artwork, this exquisite volume is the definitive monograph of a contemporary master. In addition to page after page of full-color art, Visual Music features Eno's personal notebook pages, his essay "Perfume, Defense, and David Bowie's Wedding," an interview with the artist, scholarly essays, and an original-for-the-book piece of free downloadable music. We're frequently asked to bring this book back into print and here it is now for the first time in a deluxe paperback edition.
In 2011, on a trip to South Africa for an exhibition, Gary Schneider began a series of handprint portraits of South African artists. Having grown up in South Africa, which he left in 1977 at the age of twenty-three, Schneider realised that this would not be an overview of South African art but rather a way to reconnect with a country that still has an enormous influence on his work. On several subsequent trips, he travelled widely to make handprint portraits in Johannesburg, Cape Town, Port Elizabeth, Grahamstown and Durban. Included in the book are seventy-seven handprint portraits. Each imprint is a record as singular and individual as a fingerprint but, at the same time, free of all the usual markers of physical identity.
Speed, regulation and mass production defined the first Industrial Revolution, but we have entered a new era. Today's revolution has been driven by digital technologies and tools, giving rise to entirely new working methods, skill sets and consumer products. Spearheading this movement is a new generation of creatives who fuse the precision and flexibility of computing and digital fabrication with the skill and tactility of the master artisan to create unexpected and desirable objects and products. For the first time on a global scale, Digital Handmade selects a group of 80 pioneering designers, artists and craftsmen who represent the best of this new trend. Profiles of each artisan's techniques are featured alongside the objects they produce, each conceived and made through a multifaceted process of hand and digital means and unique to its maker. Examples range from the affordable and obtainable to the extraordinary and priceless. Welcome to the next industrial revolution.
Savage Messiah collects the entire set of Laura Oldfield Ford's fanzine to date. Part graphic novel, part artwork, the book is both an angry polemic against the marginalization of the city's working class and an exploration of the cracks that open up in urban space.
The second in a unique series of anthologies which collects key writings by and on the most significant artists in contemporary culture. Influencing a whole generation of artists, musicians and theorists, since the late 1970s Christian Marclay has explored the interplay between sound, audio cultures and art across a diversity of media: performance, sculpture, photography, collage, musical composition, film, video and installation. Born in 1955, Marclay first became internationally known in the 1980s for his sculptures and reassembled readymades generated from evocative materials such as fragmented vinyl records or album covers. His ambitious multi-screen installations such as Video Quartet (2002), Crossfire (2007) and The Clock (2010) have entranced audiences into contemplating the complexities of time and narrative and the role of sound in their experience and representation. Marclay has also collaborated musically with Shelley Hirsch, the Kronos Quartet, Zeena Parkins, Elliott Sharp, Sonic Youth and John Zorn, among many others. Edited by curator and critic Jean-Pierre Criqui, this volume brings together the artist's statements and conversations with Bice Curiger, Jan Estep, Russell Ferguson, Kim Gordon, Douglas Kahn, Frances Richard, Philip Sherburne, Michael Snow, Lars Soederkvist, David Toop and Philip von Zweck. Writings on all aspects of Marclay's work are provided by Clement Cheroux, Dennis Cooper, Christoph Cox, Jean-Pierre Criqui, Noam M. Elcott, Russell Ferguson, Douglas Kahn, Rahma Khazam, Wayne Koestenbaum, Rosalind Krauss, Thomas Y. Levin, Tom Morton, Ingrid Schaffner, Olivier Schefer, Zadie Smith, David Toop and Rob Young.
How the Vietnam War changed American art By the late 1960s, the United States was in a pitched conflict in Vietnam, against a foreign enemy, and at home "between Americans for and against the war and the status quo. This powerful book showcases how American artists responded to the war, spanning the period from Lyndon B. Johnson (TM)s fateful decision to deploy U.S. Marines to South Vietnam in 1965 to the fall of Saigon ten years later. Artists Respond brings together works by many of the most visionary and provocative artists of the period, including Asco, Chris Burden, Judy Chicago, Corita Kent, Leon Golub, David Hammons, Yoko Ono, and Nancy Spero. It explores how the moral urgency of the Vietnam War galvanized American artists in unprecedented ways, challenging them to reimagine the purpose and uses of art and compelling them to become politically engaged on other fronts, such as feminism and civil rights. The book presents an era in which artists struggled to synthesize the turbulent times and participated in a process of free and open questioning inherent to American civic life. Beautifully illustrated, Artists Respond features a broad range of art, including painting, sculpture, printmaking, performance and body art, installation, documentary cinema and photography, and conceptualism. Published in association with the Smithsonian American Art Museum, Washington, DC Exhibition schedule: Smithsonian American Art Museum, Washington, DC March 15 "August 18, 2019 Minneapolis Institute of Art September 28, 2019 "January 5, 2020
Available for the first time in paperback, this is a revised and updated edition of Jens Hoffmann's survey of groundbreaking exhibitions since 1989 and explores the radical shifts that have taken place in the practice of curating contemporary art over the last 25 years. Nine thematic sections focus on a huge variety of exhibitions - 53 in total - including those that have explored public space; reflected on globalization; engaged audiences in revolutionary ways; and brought into the gallery other disciplines such as theatre and architecture. Five new exhibitions have been added: `Living as Form' (New York, 2011), the first large-scale survey of `social practice'; `55th Venice Biennale' (Venice, 2013), the first time that `outsider art' was presented alongside `fine art' in the most prestigious art exhibition of them all; `When Attitudes Become Form: Bern 1969 / Venice 2013' (Venice, 2013), a remake of arguably the most important exhibition of the last 50 years; `The Other Story' (1989-90, London), interesting as a critical response to the iconic exhibition `Magiciens de la Terre'; `artevida' (Rio de Janeiro, 2014), the first overview of artistic practices emerging in the 1960s and 1970s to focus on the Global South.
This book explores the career of the St Ives artist Kate Nicholson, daughter of Ben and Winifred Nicholson, from her early landscapes, the still lifes painted in Cumberland and St Ives, the abstracts - many of them inspired by her travels in Greece - to the late works made on the Isle of Eigg in the Hebrides. It examines her artistic relationship with her mother, with whom she painted side by side in Cumberland and Scotland, and on their many Greek travels. It also discusses her creative relationship with her father with whom she lived in St Ives in the mid-1950s for two years, as well as her friendship with many of the St Ives artists and her role in the Penwith Society. Published to accompany the exhibition `Kate Nicholson' at Falmouth Art Gallery, this book is the first monograph on this highly talented artist who deserves to be better known. It illustrates many works from both public and private collections and draws on groundbreaking new research, together with the author's experience of travelling with her on painting trips.
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