This book is about the digital interface and its use in interactive new media art installations. It examines the aesthetic aspects of the interface through a theoretical exploration of new media artists, who create, and tactically deploy, digital interfaces in their work in order to question the socio-cultural stakes of a technology that shapes and reshapes relationships between humans and non-humans. In this way, it shows how use of the digital interface provides us with a critical framework for understanding our relationship with technology.

Mark Ryden returns with 20 new incredible portraits of creatures   From his Snow Yak to his very personal interpretation of the California bear, for more than 20 years Mark Ryden has populated an incredible “pop surrealist� bestiary of half-animal, half-plush creatures. Freely inspired by the Rushton toys that enjoyed their heyday in America in the ’60s and ’70s, these creatures are now the object of a cult worship among fans of the artist, and are one of his marks of distinction in the world of contemporary art.   This book reveals the details and backgrounds of the 20 new paintings Mark Ryden has created for his 2020’s show at Emmanuel Perrotin‘s gallery in Shanghai, but also some of his most iconic master-pieces showcasing yaks and others creatures of his own mythology.   With a statement essay from the artist and an introduction by Takashi Murakami (“the Warhol of Japan�), this “little pink book� will become an instant classic for the lovers of contemporary art and surrealism.

The mutual history of art, agriculture, and American identity as told through the theme of the harvest. The harvest has traditionally been a productive season, both on American farms and in its artists' studios. Before the early nineteenth century, the ideal of the Jeffersonian yeoman, singly cultivating a subsistence plot for family use, dominated the American imagination; after World War II, the advent of big agribusiness proved less immediately attractive for artists. In We Gather Together, Charles C. Eldredge examines the period in between-when many Americans were farmers and much of America was farmland. Organized in a series of case studies each devoted to a single crop, We Gather Together initially focuses on familiar commodity crops such as corn, wheat, and potatoes, and then expands to other yields by Native American harvesters and California floriculturists, as well as winter ice cutters and coastal seaweed gatherers. This novel history of agriculture and art traces parallel developments on land and canvas, highlighting breakthroughs in each field. Artists such as Winslow Homer, Doris Lee, and Georgia O'Keeffe are joined by innovators in agriculture, whether mechanical inventors such as Eli Whitney, John Deere, and Cyrus McCormick or genetic hybridizers such as Luther Burbank, W. Atlee Burpee, and Theodosia Shepherd. Surveying an astonishing amount of material and a wide range of paintings, prints, and other artworks from the nineteenth century to the mid-twentieth century, We Gather Together gorgeously demonstrates how the use of agricultural metaphors permeated American visual culture. The harvest, we see here, came to signify and dominate politics, poetry, and popular culture, ultimately representing a primary facet of American identity and nationhood.

This comprehensive reconstruction and interpretation of Louise and Walter Arensberg's groundbreaking collection of modern and pre-Columbian art takes readers room by room, wall by wall, object by object through the couple's Los Angeles home in which their collection was displayed. Following the Armory Show of 1913, Louise and Walter Arensberg began assembling one of the most important private collections of art in the United States, as well as the world's largest private library of works by and about the philosopher Sir Francis Bacon. By the time Louise and Walter died--in 1953 and 1954, respectively--they had acquired some four thousand rare books and manuscripts and nearly one thousand works of art, including world-class specimens of Cubism, Surrealism, and Primitivism, the bulk of Marcel Duchamp's oeuvre, and hundreds of pre-Columbian objects. These exceptional works filled nearly all available space in every room of their house--including the bathrooms. The Arensbergs have long had a central role in the histories of Modernism and collecting, but images of their collection in situ have never been assembled or examined comprehensively until now. Presenting new research on how the Arensbergs acquired pre-Columbian art and featuring never-before-seen images, Hollywood Arensberg demonstrates the value of seeing the Arensbergs' collection as part of a single vision, framed by a unique domestic space at the heart of Hollywood's burgeoning artistic scene.

A comprehensive overview of renowned Belgian artist Berlinde De Bruyckere's work since 2014, inspired by the figure of the angel Belgian artist Berlinde De Bruyckere has long been a leading light in the international contemporary art world whose sculptures, installations and drawings endeavor to find the meaning of humanity, physicality, suffering and vitality. Conceived in the loneliness and isolation of the COVID-19 pandemic, this book explores De Bruyckere's recent, never-before-seen work inspired by the figure of the angel as portrayed in myths, stories, literature and art history. According to De Bruyckere, an angel-with its warm, dark wings-provides protection, a refuge from fear. The angel guards against a lonely existence and, even more importantly, against a lonely death. It symbolizes the fragile line De Bruyckere treads between artistic poeticism and engagement with current affairs. This volume will serve as an essential resource on an artist whose works constitute a provocative and influential addition to the contemporary art canon. Distributed for Mercatorfonds Exhibition Schedule: Bonnefantenmuseum Maastrich, The Netherlands (March 29-September 26, 2021)

Working in 1970s Italy, a group of artists-namely Ugo La Pietra, Maurizio Nannucci, Francesco Somaini, Mauro Staccioli, Franco Summa, and Franco Vaccari-sought new spaces to create and exhibit art. Looking beyond the gallery, they generated sculptural, conceptual, and participatory interventions, called Arte Ambientale (Environmental Art), situated in the city streets. Their experiments emerged at a time of cultural crisis, when fierce domestic terrorism aggravated an already fragile political situation. To confront the malaise, these artists embraced a position of artistic autonomy and social critique, democratically connecting the city's inhabitants through direct art practices.

Start your personal planning any time of the year with this stylish, undated monthly calendar. This desk pad features twelve customizable, perforated pages that offer plenty of room to schedule appointments or meetings each month, and useful space to jot down important to-dos or notes. It's a great way to stay organized throughout the year.

The work of 38 established and emerging artists explore the creative potential of risk-taking and transgression in contemporary life The unconventional theme underlying the art featured in this book is the struggle between risk-taking and the prediction algorithms that have become a feature of contemporary life. Does the influence of machine intelligence, and the coincident avoidance of risk, homogenize creative thought? These ideas are explored in the work of 38 established and emerging artists in a variety of media including painting, drawing, sculpture, sculpture, video art, computer art, and performance. Featured artists include Joelle Tuerlinckx, Ed Atkins, Esther Ferrer, Mounira Al Solh, and Shezad Dawoud. The book takes its title from a town on the French-Belgian border with a history as a well-known customs outpost. Distributed for Mercatorfonds Exhibition Schedule: WIELS Museum for Contemporary Art Brussels (September 12, 2020-February 10, 2021)

As a response to the ubiquity of drawing in contemporary consciousness and a corresponding dearth of critical engagement with the medium, these collected essays provide original interpretations of artists' drawing today. Questions of process, politics, scale, and community raised in the work of the diverse group of artists are situated within the historic discourse on drawing and demonstrate the extent to which contemporary practice challenges previous definitions of the medium. From the room-encompassing drawings of Monika Grzymala and Barbara Bernstein or Sophie Calle's expansive exploration of the Jerusalem eruv to Andrea Bowers's graphite renditions of protest to Ellsworth Kelly's proposal for a memorial to September 11, the essays explore the implications of drawings' departure from the confines of a sheet of paper. Essential reading for both the academic and general audience, this book provides in-depth discussions of artists and projects that have never been treated in a sustained, analytical way; each essay will interest the wider contemporary art audience, as well as students of drawing. Taken as a whole, the volume represents a pertinent and stimulating engagement with issues of paramount importance to our understanding of contemporary art and its place in museums, galleries, and the public sphere.

In 2013 Georg Baselitz declared that 'women don't paint very well'. Whilst shocking, his comments reveal what Helen Gorrill argues is prolific discrimination in the artworld. In a groundbreaking study of gender and value, Gorrill proves that there are few aesthetic differences in men and women's painting, but that men's art is valued at up to 80 per cent more than women's. Indeed, the power of masculinity is such that when men sign their work it goes up in value, yet when women sign their work it goes down. Museums, the author attests, are also complicit in this vicious cycle as they collect tokenist female artwork which impinges upon its artists' market value. An essential text for students and teachers, Gorrill's book is provocative and challenges existing methodologies whilst introducing shocking evidence. She proves how the price of being a woman impacts upon all forms of artistic currency, be it social, cultural or economic and in the vanguard of the 'Me Too' movement calls for the artworld to take action.

David Lynch is internationally renowned as a filmmaker, but it is less known that he began his creative life as a visual artist and has maintained a devoted studio practice, developing an extensive body of painting, prints, photography, and drawing. Featuring work from all periods of Lynch's career, this book documents Lynch's first major museum exhibition in the United States, bringing together works held in American and European collections and from the artist's studio. Much like his movies, many of Lynch's artworks revolve around suggestions of violence, dark humor, and mystery, conveying an air of the uncanny. This is often conveyed through the addition of text, wildly distorted forms, and disturbances in the paint fields that surround or envelop his figures. While a few relate to his film projects, most are independent works of art that reveal a parallel trajectory. Organized in close collaboration with the artist, David Lynch: The Unified Field brings together ninety-five paintings, drawings, and prints from 1965 to the present, often unified by the recurring motif of the home as a site of violence, memories, and passion. Other works explore the odd, tender, and mincing aspects of relationships. Highlighting many works that have rarely been seen in public, including early work from his critical years in Philadelphia (1965 70), this catalog offers a substantial response to dealer Leo Castelli's comment when he enthusiastically viewed Lynch's work in 1987, I would like to know how he got to this point; he cannot be born out of the head of Zeus." Published in association with the Pennsylvania Academy of the Fine Arts.

An extensive monograph on this architect and designer's oeuvre Gianni Arnaudo is an architect and designer with a powerful creative drive. After graduating from the Polytechnic of Turin in 1971, he began his professional career by joining Studio 65, establishing himself as one of its first and main practitioners in the 1970s. Also dating from these years are his first radical architecture creations and his collaboration with Gufram. This led to the creation of Multiples, which gained international prominence following exhibitions such as New Domestic Italian Landscape at the New York MoMA: it was only one among many items destined to enter the permanent collections of some of the world's most important museums.

Since the 1980s, he has been collaborating with leading Italian and international brands, focusing on design and architecture. His long and eclectic career has earned him several awards. On account of the influence of his work in the fields of architecture and design, Gianni Arnaudo has been ranked among the personalities who have marked the most significant turns in the field of 20th-century art.

Languages: English and Italian

Paul Gruhler opened his first studio in 1962 at the age of 21 - a year later he had a solo show at the DeMena Gallery in lower Manhattan. From the beginning, Gruhler, a self-taught artist, was compelled by what came to be known as geometric abstraction, in which the deliberative arrangement of color, line, texture, and scale, in paintings and collage, evoke from these disparate elements a sense of meditative harmony. For sixty years, he has continued to explore the subtle differences that can be made from color and line. Gruhler was fortunate in the early years to have met and become good friends with three older artists who were also important teachers and mentors - first Michael Lekakis, then Harold Weston and Herb Aach. Lekakis, a celebrated sculptor, who already had had exhibitions at the Guggenheim Museum, the Whitney Museum of American Art, and the Museum of Modern Art's exhibition Americans 1963, took Gruhler under his wing, navigating him through New York's thriving avant-garde art scene. As Carolyn Bauer writes, "Michael Lekakis was instrumental in encouraging Gruhler to attend art events, while taking him to invite-only museum openings." He also introduced him to renowned artists - among them, Alexander Calder, Isamu Noguchi, Louise Nevelson, and Barnett Newman - whose works influenced the young Gruhler, as did such artists as Mark Rothko, Clyfford Still, and Ad Reinhardt. Lekakis was also instrumental in Gruhler's first show, giving titles to his paintings and writing catalog copy that drew upon his own abstract poetics. "These canvases," he wrote, are "multi colored fire densely cascades to suspension hanging a counterpoint of rhythmic patterns in space covering it like a shroud united by a golden fragmentation." Over these years Gruhler has had numerous solo and group shows in the U.S. in New York and Vermont, in Mexico, and abroad in Finland, Germany, Sweden, and The Netherlands. HARMONICS is both a retrospective and a current view of Paul Gruhler's intensive art. "My work," he says, "has been a meditative exploration of vertical and horizontal relationships in space, in order to achieve both harmony and tension within color, line and form." -- Paul Gruhler * Publisher *

A remarkable illustrated volume of artwork and images selected from the diaries David Sedaris has been creating for four decades In this richly illustrated book, readers will for the first time experience the diaries David Sedaris has kept for nearly 40 years in the elaborate, three-dimensional, collaged style of the originals. A celebration of the unexpected in the everyday, the beautiful and the grotesque, this visual compendium offers unique insight into the author's view of the world and stands as a striking and collectible volume in itself. Compiled and edited by Sedaris's longtime friend Jeffrey Jenkins, and including interactive components, postcards, and never-before-seen photos and artwork, this is a necessary addition to any Sedaris collection, and will enthrall the author's fans for many years to come.

A landmark survey of Sol LeWitt's printmaking practice The conceptual artist Sol LeWitt (1928-2007) is best known for his programmatic wall drawings and modular structures, but alongside these works he generated more than 350 print projects, comprising thousands of lithographs, silkscreens, etchings, aquatints, woodcuts, and linocuts. This generously illustrated volume is the first to take a comprehensive look at LeWitt's significant yet underexplored printmaking practice. Drawing together new archival research, interviews, and careful material and visual analyses, David S. Areford brilliantly situates LeWitt's prints within the broader context of his serial-, system-, and rule-based approach to artmaking. The specific processes of print media, Areford argues, were perfectly suited for LeWitt's particular brand of conceptual art, in which the "idea becomes the machine that makes the art." With over 400 illustrations, many never before published, this study offers a more complete picture of LeWitt's oeuvre-and the essential place printmaking holds in it. The result will deepen the understanding not only of the variety of LeWitt's output but of the genealogy of his distinct geometric and linear formal language.

An exploration of the artistic and cultural influences that shaped writer and illustrator Edward Gorey The illustrator, designer, and writer Edward Gorey (1925-2000) is beloved for his droll, surreal, and slightly sinister drawings. While he is perhaps best known for his fanciful, macabre books, such as The Doubtful Guest and The Gashlycrumb Tinies, his instantly recognizable imagery can be seen everywhere from the New Yorker to the opening title sequence of the television series Mystery! on PBS. Gorey's Worlds delves into the numerous and surprising cultural and artistic sources that influenced Gorey's unique visual language. Gorey was an inveterate collector--he called it "accumulating." A variety of objects shaped his artistic mindset, from works of popular culture to the more than twenty-six thousand books he owned and the art pieces in his vast collection. This collection, which Gorey left to the Wadsworth Atheneum Museum of Art upon his death, is diverse in style, subject, and media, and includes prints by Eugene Delacroix, Charles Meryon, Edvard Munch, and Odilon Redon; photographs by Eugene Atget; and drawings by Balthus, Pierre Bonnard, Charles Burchfield, Bill Traylor, and Edouard Vuillard. As this book shows, these artistic pieces present a visual riddle, as the connections between them-to each other and to Gorey's works-are significant and enigmatic. The essays in Gorey's Worlds also examine the artist's consuming passions for animals and ballet. Featuring a sumptuous selection of Gorey's creations alongside his fascinating and diverse collections, Gorey's Worlds reveals the private world that inspired one of the most idiosyncratic artists of the twentieth century. Exhibition Schedule: Wadsworth Atheneum Museum of Art, February 10 - May 6, 2018

Originally published in 1987 while the Twin Towers still stood - brash and controversial, a new symbol of the city and the country - this book offered the first serious consideration of the planning and design of the World Trade Center. It benefited from interviews with figures still on the scene, and archival documents still available for study. Many of those interviewed, and many of the documents, are gone. But even if they remained available today, it would be impossible now to write this book from the same perspective. Too much has happened here. In this, the tenth anniversary year of the disaster, a new World Trade Center is rising on the site. We can finally begin to imagine life returning, with thousands of people streaming into the new buildings to work or conduct business, and thousands more, from all over the world, coming to visit the new memorial. It is only natural, then, that we will find ourselves thinking about what life was like in the original Center. This new edition of the book - expanded to include copies of some of the documents upon which the text was based - is offered as a memory of the World Trade Center as it once was. It is also offered as a reminder of a more innocent time, when the Center stood as a symbol, certainly, of hubris, wealth and power, but also of the conviction that in New York City, Americans could do anything to which they set their minds.

The book presents a series of new works produced by Adel Abdessemed for the MAC's/Museum of Contemporary Arts in Grand-Hornu. The Algerian-born French artist Adel Abdessemed (b. 1971) works in a wide variety of media including animation, installation, performance, sculpture, and video; through his art he addresses contemporary themes and he reflects the bleak picture of the present day. His works, unsettling in their simultaneous beauty and raw reality, have made Abdessemed one of the most visible international artists of our time. This volume is composed of two distinct parts, each showcasing and examining one of two series of brand new, site-specific works created by Abdessemed for the Museum of Contemporary Arts in Grand-Hornu and the Musee d'Art Contemporain in Lyon. Distributed for Mercatorfonds Exhibition Schedule: MAC's, Grand Hornu (03/04/18-06/03/18) Musee d'Art Contemporain, Lyon (03/09/18-07/08/18)

"When you're in New York" the sculptor Louise Nevelson once said, "you're in perpetual resurrection." She might have said the same thing about St. Peter's Lutheran Church, set in the heart of midtown Manhattan. In the 1970s the church made a radical move, scrapping its neo-gothic building for a sleek modern structure in the shadow of a skyscraper. The transformation was not just architectural. Inside, Nevelson created a shimmering chapel, while over the years artists and designers such as Willem de Kooning, Kiki Smith, and Massimo and Lella Vignelli produced works for the sanctuary. This fusion of modern art, architecture, and design was complemented by an innovative jazz ministry, including funerals for Billy Strayhorn and John Coltrane, and performances by Duke Ellington and other jazz legends. For the first time, this volume examines the astounding cultural output of this single church. Just as importantly, the story of St. Peter's serves as a springboard for wider reflections on the challenges and possibilities which arise when religion and art intersect in the modern city. Working from a wide range of disciplines, including art history, theology, musicology, and cultural studies, a distinguished group of scholars demonstrate that this church at the center of New York City deserves an equally central place in contemporary scholarship.

Architect Ernesto Nathan Rogers (1909-1969) was a towering figure in 20th-century Italian architecture, with a significant impact at the international level. Through the work of his collaborative firm (Banfi Belgiojoso Peressutti Rogers, or BBPR), the editorship of publications such as Domus and Casabella, and his teaching at the Politecnico in Milan, Rogers ensured a lasting influence on the field as a practitioner, theorist and educator. However his contributions have been largely neglected by scholarship outside of Italy. Published as part of the Bloomsbury Studies in Modern Architecture series, which brings to light the work of significant yet overlooked modernist architects, this book re-assesses Ernesto Nathan Rogers' cultural legacy. It is the first comprehensive, critical work on Rogers in English, and emphasizes Rogers' vision for the role of the architect as a public intellectual, as well as his commitment to pursue a renewed path of professional and cultural research within the "Modern Project." The book also discusses Roger's willingness to challenge academic classicized monumentality as well as modernist stereotypes, to emerge as a leader of Italian design in the aftermath of World War II; his interest in all scales of design and planning, with a cross-disciplinary mentality; tradition in modernity; and criticality as a mode of practice, to bring a detailed account of the work and thought of Ernesto Nathan Rogers to an English-speaking audience for the first time. With a foreword by Kenneth Frampton.

The 1960s and 1970s avant-garde has been likened to an 'architectural Big Bang', such was the intensity of energy and ambition in which it exploded into the postwar world. Marked out by architectural projects that redefined the discipline, it remains just as influential today. References to the likes of Archizoom, Peter Eisenman, John Hejduk and Superstudio abound. Highly diverse, the avant-garde cannot be defined as a single strand or tendency. It was divergent geographically - reaching from Europe to North America and Japan - and in its political, formal and cultural preoccupations. It was unified, though, as a critical and experimental force, critiquing contemporary society against the backdrop of extreme social and political upheaval: the Paris riots of May 1968, the anti-Vietnam war movement in America and the looming ecological crisis. Re-imagining the Avant-garde outlines how in contemporary architectural practice, avant-garde projects retain their power as historical precedents, as barometers of a particular design ethos, as critiques of society and instigators of new formal techniques. Given the far-reaching impact of the subsequent digital revolution, which has since reshaped every aspect of practice, the issue asks why this historical period continues to retain its undeniable grip on current architecture. Contributors: Pablo Bronstein and Sam Jacob, Sarah Deyong, Stylianos Giamarelos, Damjan Jovanovic, Andrew Kovacs, Perry Kulper, Igor Marjanovic, William Menking, Michael Sorkin, Neil Spiller and Mimi Zeiger. Featured architects: Archizoom, Andrea Branzi, Jimenez Lai, Luis Miguel (Koldo) Lus Arana (Klaus), NEMESTUDIO, Superstudio and UrbanLab.

In 1958, soon after Gabrielle Selz was born, she, her parents and her sister moved to New York, where her father, Peter Selz, would begin his job as the chief curator of painting and sculpture at the Museum of Modern Art. What followed was a whirlwind childhood spent among art and artists in the heyday of Abstract Expressionism. Gabrielle grew up in a home full of the most celebrated artists of the day: Rothko, de Kooning, Tinguely, Giacometti, and Christo, among others.

Poignant and candid, Unstill Life is a daughter s memoir of the art world and a larger-than-life father known to the world as Mr. Modern Art. Selz offers a unique window into the glamour and destruction of the times: the gallery openings, wild parties and affairs that defined one of the most celebrated periods in American art history. Like the art he loved, Selz s father was vibrant and freewheeling, but his enthusiasm for both women and art took its toll on family life. When her father left MoMA and his family to direct his own museum in California, marrying four more times, Selz s mother, the writer Thalia Selz, moved with her children into the utopian artist community Westbeth. Her parents continued a tumultuous affair that would last forty years.

Weaving her family narrative into the larger story of twentieth-century art and culture, Selz paints an unforgettable portrait of a charismatic man, the generation of modern artists he championed and the daughter whose life he shaped."