The 2021 Capitol Hill Riot marked a watershed moment when the 'old world' of factbased systems of representation was briefly overwhelmed by the emerging hyper-individual politics of aestheticized emotion. In The Trump Effect in Contemporary Art and Visual Culture, Kit Messham-Muir and Uros Cvoro analyse the aesthetics that have emerged at the core of 21st-century politics, and which erupted at the US Capitol in January 2021. Looking at this event's aesthetic dimensions through such aspects as QAnon, white resentment and strongman authoritarianism, they examine the world-wide historical trends towards ethno-nationalism and populism that emerged following the end of the Cold War in 1989 and the dawning of the current post-ideological age. Building on their ground-breaking research into how trauma, emotion and empathy have become well-worn tropes in contemporary art informed by conflict, Messham-Muir and Cvoro go further by highlighting the ways in which art can actively disrupt an underlying drift in society towards white supremacism and ultranationalism. Utilising their outsiders' perspective on a so-called American phenomenon, and rejecting American exceptionalism, their theorising of the 'Trump Effect' rejects the idea of Trump as a political aberration, but as a symptom of deeper and longer-term philosophical shifts in global politics and society. As theorists of contemporary art and visual culture, Messham-Muir and Cvoro explore the ways in which these features of the Trump Effect operate through aesthetics, in the intersection of politics and contemporary art, and provide valuable insight into the current political context.

Claes Oldenburg's commitment to familiar objects has shaped accounts of his career, but his associations with Pop art and postwar consumerism have overshadowed another crucial aspect of his work. In this revealing reassessment, Katherine Smith traces Oldenburg's profound responses to shifting urban conditions, framing his enduring relationship with the city as a critical perspective and conceiving his art as urban theory. Smith argues that Oldenburg adapted lessons of context, gleaned from New York's changing cityscape in the late 1950s, to large-scale objects and architectural plans. By examining disparate projects from New York to Los Angeles, she situates Oldenburg's innovations in local geographies and national debates. In doing so, Smith illuminates patterns of urbanization through the important contributions of one of the leading artists in the United States.

Japanese Sumi-e brush painting combines the techniques of calligraphy and ink painting to produce compositions of rare beauty. This art has its roots in the Zen Buddhist practices of mindfulness and meditation--serving as a means not just for describing wonders of nature, but as a method for training our minds to view the world in its essential grace and simplicity. This book is the product of many years of study with Ukai Uchiyama--a master Japanese calligrapher and artist. Kay Morrissey Thompson shares the knowledge she gained from this association, presenting a thorough discussion of the artist's work along with a series of practical lessons based on Mr. Uchiyama's instruction. The informative text is accompanied by over fifty illustrations, many in color, reproducing works by Ukai Uchiyama and enabling aspiring artists to understand how each painting was created. With a smaller size and new cover, this timeless Tuttle Classic (originally published in 1960), has been reformatted for a new generation of readers.

This book contains all of Gary Gianni's artwork for George R.R. Martin's A Song of Ice and Fire series. Over 300 pages of beautifully illustrated scenes from the five novels in the series--A Game of Thrones, A Clash of Kings, A Storm of Swords, A Feast For Crows and A Dance With Dragons--are featured alongside passages from the books themselves. Also included are illustrations from the two prequels of the series, A Knight of the Seven Kingdoms and Fire and Blood. All together, the paintings and hundreds of drawings in pencil and pen-and-ink provide a unique view of the Seven Kingdoms of Westeros as seen through the eyes of the award-winning illustrator. Describing Gianni's artwork, George R.R. Martin says it's "as if I am looking through a window into Westeros, that I am there with Tyrion and Daenerys, with Ned and Arya, with Dunk and Egg." All of Gary Gianni's previously shown pencil sketches and paintings have been tightened up and polished for this collection, making them appear as new works. In addition, over 35 pencil drawings appear for the first time. The artist draws on his longtime experience in comics and illustration to offer a unique perspective into Martin's universe. The book also includes an introduction by Cullen Murphy, who discusses the art of illustration and adds context to the pictures by providing an overview of Gianni's career. Notes from the artist reveal insight concerning his methods and the creative process of working with Martin, a relationship that has spanned five years to date.

"It is no longer we who cross the land, the border, the sea; they are the ones who cross us." The 2019 Biennale di Venezia offered a special experience: not only was the Luxembourg pavilion assigned its first new location on the Arsenale grounds, but Marco Godinho's exhibition Written by Water, which was shown there, was an all-the-more impressive research how we move today in a world engaged with current migration issues and its relation with the sea. The sea may have fascinated for centuries, with its endless legends, adventures survived, and voyages of discovery that have further connected mankind. But behind the romantic facade, a complex geopolitical dimension with a far darker chapter has been hidden since the early twenty-first century at the latest. Waves of failed attempts at migration are still occurring today. Written by Water is a geopoetic odyssey that takes the reverse path of today's migratory routes across the Mediterranean, the cradle of modern society and birthplace of founding narratives that underpin our common heritage. The documentation of the exhibition is accompanied by seven essays, which are just as thought-provoking and a wide range of singular works and recent exhibitions of the last fifteen years. Languages: English and French

An amply illustrated examination of Vincent Geyskens' work exploring of the position of painting in contemporary society Vincent Geyskens examines the position of painting in contemporary society, engaging with abstraction, figuration and a variety of media and styles as the artist probes their possibilities and limits. Complemented by a number of older reference works, this book zooms in on Geyskens' practical work over the past ten years to bring together various series in free-ranging connection with one another. It places the spotlight on the breadth of his experience and gathers together the diverse series and types of work produced over the course of his oeuvre. The links forged between the various approaches he uses lends voice to Geyskens' quest as a painter exploring the status of the image and visual representation in the present day. His painting is a way of turning thoughts into something tangible, translating them into substance in this amply illustrated publication. Distributed for Mercatorfonds Exhibition Schedule: EXPO M Museum Leuven (May 27-September 5, 2021)

Collaboration in the arts is no longer a conscious choice to make a deliberate artistic statement, but instead a necessity of artistic survival. In today's hybrid world of virtual mobility, collaboration decentralizes creative strategies, enabling artists to carve new territories and maintain practice-based autonomy in an increasingly commercial and saturated art world. Collaboration now transforms not only artistic practices but also the development of cultural institutions, communities and personal lifestyles. This book explores why collaboration has become so integrated into a greater understanding of creative artistic practice. It draws on an emerging generation of contributors-from the arts, art history, sociology, political science, and philosophy-to engage directly with the diverse and interdisciplinary nature of collaborative practice of the future.

The book contains a review of Patrick Hamilton's artistic career, from his beginnings with the series Project, - covering works of architecture, which began in 1996, two years before graduating from art school - to his most recent works. Driven by a desire to move painting onto another plane, Hamilton has created a body of work along object- and concept-based lines with a foundation in his interest towards cultural, historical and literary research. Using the starting point of Santiago, the city where he has lived and worked until recently, Hamilton has woven together countless works over a time period equivalent to a career that has now lasted nearly twenty years. The visual metaphors, popular myths and historical events in them are given form in an impeccable conceptual and visual presentation, which he uses to look for answers to all of the questions which arise on a daily basis in the society of which he forms a part as a citizen and artist. His work takes place mainly in the field of photography, collage, objects and installations and includes a reflection on the concepts of work, inequality, architecture and history - particularly of Chile post-dictatorship. In this sense it is an aesthetic reflection on the consequences of the 'neoliberal revolution' implanted in Chile during the '80s and its projection in the social and cultural field from then until now. Patrick Hamilton (Leuven, Belgium, 1974) has a degree in Art from the University of Chile. He received a Guggenheim fellowship in 2007. He has had exhibitions at numerous international institutions and has taken part in the Venice Biennale with Chile. He lives and works in Madrid.

Minimal Conditions explores the expansion of sculpture into phenomenal and perception-based practices in and around the Los Angeles area in the 1970s, a time when California Light and Space art played a key role in the evolution of minimal art toward dematerialization. Focusing on the contingent and embodied nature of work by such artists as Robert Irwin, James Turrell, Doug Wheeler, Larry Bell, Eric Orr, and Maria Nordman, author Dawna L. Schuld proposes a method of analysis that considers these pieces not as discrete objects, but as diverse species of experience. Schuld's compelling study identifies perceptual, philosophical, and historical common ground shared by minimal artists working on both coasts and in the desert landscape.

This rich, colorful retrospective celebrates the offbeat, inspired, and highly original artistic career of San Francisco-born painter Joan Brown. This exhibition catalog accompanies a retrospective exhibition of prolific San Francisco-born painter Joan Brown (1938-1990), the first significant survey of her work in more than twenty years. Joan Brown charts the turns and devotions of a vision that was once dismissed by critics as unserious but was in fact rooted firmly in research and impassioned curiosity that remains uniquely compelling today. Deeply embedded in the Bay Area art scene, Brown drew inspiration from many sources to create a charmingly offbeat body of work that merges autobiography, fantasy, and whimsy with weightier metaphysical and spiritual imagery and themes. Featuring texts by curators Janet Bishop and Nancy Lim as well as essays by Solomon Adler, Marci Kwon, and Helen Molesworth, this lavishly illustrated book establishes Brown's relationship to the self and family, to art history, and to her wider artistic community, while examining the unique materiality of her paintings and exploring her singular vision. In addition, select Brown works will be paired with commentaries by contemporary artists ranging from friends and peers, such as Ron Nagle, to younger artists inspired by her work, such as Woody De Othello. Published in association with the San Francisco Museum of Modern Art. Exhibition dates: San Francisco Museum of Modern Art, November 19, 2022-March 12, 2023 Carnegie Museum of Art, May-September 2023

This book explores the relationship between the ongoing urbanization in China and the production of contemporary Chinese art since the beginning of the twenty-first century. Wang provides a detailed analysis of artworks and methodologies of art-making from eight contemporary artists who employ a wide range of mediums, including painting, sculpture, photography, installation, video, and performance. She also sheds light on the relationship between these artists and their sociocultural origins, investigating their provocative responses to various processes and problems brought about by Chinese urbanization. With this urbanization comes a fundamental shift of the philosophical and aesthetic foundations in the practice of Chinese art: from a strong affiliation with nature and countryside to one that is complexly associated with the city and the urban world.

Discover the unique aesthetic of Tadao Ando, the only architect ever to have won the discipline's four most prestigious prizes: the Pritzker, Carlsberg, Praemium Imperiale, and Kyoto Prize. This collection spans the breadth of Ando's entire career, including such stunning new projects as the Shanghai Poly Grand Theater and the Roberto Garza Sada Center in Monterrey, Mexico. Each project is profiled through photographs and architectural drawings that explore Ando's unprecedented use of concrete, wood, water, light, space, and natural forms. Featuring designs from award-winning private homes, churches, museums, and apartment complexes to cultural spaces throughout Japan, South Korea, France, Italy, Germany, Mexico, and the USA, this compact edition brings you up close and personal with a Modernist master. About the series TASCHEN is 40! Since we started our work as cultural archaeologists in 1980, TASCHEN has become synonymous with accessible publishing, helping bookworms around the world curate their own library of art, anthropology, and aphrodisia at an unbeatable price. Today we celebrate 40 years of incredible books by staying true to our company credo. The 40 series presents new editions of some of the stars of our program-now more compact, friendly in price, and still realized with the same commitment to impeccable production.

Come as You Are: Art of the 1990s is the first major museum survey to historicize art made in the United States during this pivotal decade. Showcasing approximately sixty-five works by forty-five artists, the book includes installations, paintings, sculptures, drawings, prints, video, sound, and digital art. Come as You Are offers an overview of art made in the United States between 1989 and 2001, a period bookended by two indelible events: the fall of the Berlin Wall and 9/11. The book is organized around three principal themes - the identity politics" debates, the digital revolution, and globalization; its title refers to the 1992 song by Nirvana and to the issues of identity that were complicated by effects of new technologies and global migration. All the artists in the exhibition made their initial entry into the art historical discourse during the 1990s, and they reflect the increasingly heterogeneous nature of the art world during this time, when many women artists and artists of color attained unprecedented prominence. Contributors include Huey Copeland, Jennifer Gonzalez, Suzanne Hudson, Joan Kee, Frances Jacobus-Parker, Kris Paulsen, Paulina Pobocha, and John Tain. Published in association with the Montclair Art Museum.

Pars Pro Toto III is the result of a close dialog between Egyptian-German artist Susan Hefuna and curator Hans Ulrich Obrist. The focus in this book is on Hefuna's complex work groups on site-specific and architectural installations, video works and choreographies. Hefuna uses urban spaces and cities like Cairo, London, Istanbul, Sharjah, Sydney, New York, and Vienna as her laboratory. The artist interacts with dancers, communities, urban and human structures in both personal and political ways. Pars Pro Toto III also features a foreword by Hans Ulrich Obrist, an interview with the Egyptian writer Nawal El Saadawi, as well as texts by the Lebanese-American artist and poet Etel Adnan, by Negar Azimi, Senior Editor of BidounMagazine, and by Brett Littman, director of the Drawing
Center, NYC

Marking the occasion of Didier Vermeiren's eponymous solo exhibition at WIELS in Brussels, this book illuminates the recurrent strategies of repetition, reversal, doubling and inversion that the artist explores in his work Published to mark the occasion of Didier Vermeiren's (b. 1951) eponymous solo exhibition at WIELS in Brussels, Double Exposition takes its name from a photograph by Vermeiren that refers to its own double exposure ("exposition" in French, which also translates as "exhibition"). The title thus evokes the recurrent strategies of repetition, reversal, doubling, and inversion that Vermeiren explores in his work. Conceived by the artist and containing a rich array of his striking photographs, this book also features an in-depth analysis of Vermeiren's most recent sculptures written by long-term commentator on his practice, Michel Gauthier; an essay on the central role of photography in his studio practice by Susana Gallego-Cuesta; and a look at the shifts and continuities in his oeuvre over the past four decades by the exhibition's curator, Zoe Gray. Distributed for Mercatorfonds

Eggshells, flowers, onion peels, sponge cake, dried bread, breast milk-these are just a few of the biological materials that some contemporary artists have used to make art. But how can works made from such perishable ingredients be preserved? And what ethical and conceptual dilemmas might be posed by doing so? Because they are prone to rapid decay, even complete disappearance, biological materials used in art pose a range of unique conservation challenges. This groundbreaking book probes the moral and practical challenges associated with displaying, collecting, and preserving these unique works of art. Theoretical considerations are complemented by a range of specific case studies, thereby affording a comprehensive and richly detailed overview of current thinking and practices on this topic. With contributions by conservators, scholars, curators, and artists, Living Matter is the first publication to address broadly these provocative issues, exploring the role of biological materials in the creative process and presenting a wide variety of possible approaches to their preservation. The free online edition of this publication is available at getty.edu /publications/living matter/ and includes videos and zoomable illustrations. Also available are free PDF, EPUB, and Kindle/MOBI downloads of the book.