In the forty years since the first iteration of Venice Architecture Biennale, the field of architecture has seen a remarkable change in the role played by exhibition-making. While architecture and display have long been intertwined practices, a rapid proliferation of large-scale perennial exhibitions-particularly in the twenty-first century-has resulted in the biennial / triennial becoming an integral part of our discipline, a new geography of itinerant display that has profoundly altered the contours of architectural thought. Between format, space, and content, what are the various agencies and effects of these events? Biennials / Triennials asks these questions and others of a range of curatorial agents-including After Belonging Agency, Beatriz Colomina and Mark Wigley, Sarah Herda, Adrian Lahoud, Ippolito Pestellini, and Andre Tavares-and visits crucial sites of recent exhibitions that reveal what is at stake in the newfound ubiquity of the architectural -ennial.

Lynn Chadwick (1914-2003) was one of the leading British sculptors of his generation. This essential illustrated catalogue raisonne of his sculpture is published in a new, fourth edition to coincide with Chadwick's centenary in 2014 and incorporates a new illustrated listing of his lithographs and jewellery, new reproductions of many of his sculptures (including some in colour), a completely new page design, and the most up-to-date catalogue information on his work. Chadwick began his career as an architectural draughtsman, but after the Second World War he took up sculpture without any formal training. He initially concentrated on mobiles, and these were followed by welded constructions and bronzes. He established his international reputation in 1956, when he won the International Prize for Sculpture at the Venice Biennale. He consistently worked in welded iron and was constantly intrigued by human and animal forms: no matter how abstract the sculpture became at times, it was always firmly rooted in a deep understanding of the natural world. This indispensable reference book includes comprehensive, updated lists of Chadwick's exhibitions, the public collections he is represented in, and a full biography, alongside the fully illustrated complete catalogue of his sculpture. The introductory essay by the late Dennis Farr, which draws on interviews with the artist, examines Chadwick's development as a sculptor and his sculptural techniques, and the catalogue notes now incorporate a useful new explanation of Chadwick's bronze casts and foundries.

"Patience, patience, because the great movements of history have always begun in those small parenthesis that we call 'in the meantime.'" --John Berger The last book that John Berger wrote was this precious little volume about time titled What Time Is It?, now posthumously published for the first time in English by Notting Hill Editions. Berger died before it was completed, but the text has been assembled and illustrated by his longtime collaborator and friend Sel uk Demirel, and has an introduction by Maria Nadotti. What Time Is It? is a profound and playful meditation on the illusory nature of time. Berger, the great art critic and Man Booker Prize-winning author, reflects on what time has come to mean to us in modern life. Our perception of time assumes a uniform and ceaseless passing of time, yet time is turbulent. It expands and contracts according to the intensity of the lived moment. We talk of time "saved" in a hundred household appliances; time, like money, is exchanged for the content it lacks. Berger posits the idea that time can lengthen lifetimes once we seize the present moment. "What-is-to-come, what-is-to-be-gained empties what-is."

The renowned American artist Sherrie Levine engages her ongoing practice of appropriating artworks from the Western art historical canon-this time taking Ad Reinhardt's Blue Paintings as a point of departure. Monochromes After Reinhardt: 1-28 (2018) continues the artist's ongoing investigation of color separated from its representational function. Inspired by the exhibition Ad Reinhardt: Blue Paintings held at David Zwirner, New York in 2017, Levine has created abstract restatements of the 28 works that were on view, making use of pixilation to consolidate the range of blue tones in each painting into a single, truly monochromatic value. This work revisits a technique first employed by Levine in her 1989 group of woodcut prints Meltdown, where an averaging algorithm was used to create a checkerboard composition based on modernist artists' iconic paintings. Sherrie Levine: After Reinhardt is published on the occasion of Levine's eponymous solo exhibition at David Zwirner's Upper East Side location in New York in 2019. The publication features full color reproductions of Monochromes After Reinhardt: 1-28 and includes the 1965 text "Reinhardt Paints a Picture," in which Reinhardt famously interviewed himself.

Imagined by Maly Siri, this coffee table book and accompanying postcard box set is a love letter to vintage magazines and an invitation to enter the spellbinding world of pin-ups. An homage inspired by the iconography of the 1930’s to 1950’s, a concentrate of pure glamour, Pin-Up looks back at vintage magazines, giving an invitation to enter the spellbinding world of luscious pin-up models.

From Botticelli to Bacon, da Vinci to Damien Hirst, artists have invested their personalities in the environments in which they have worked. Although today numerous artists have abandoned the studio model in favor of new modes of working enabled by new technologies, the studio space, often containing the visible remains of artistic ingenuity, toil, and torment, continues to present a window into the creative soul and a summary of widely varying methods and approaches.

Sanctuary: Britain s Artists and their Studios is the first publication in half a century to look behind the scenes at both artists working lives and their workplaces, encouraging them to speak, delving into their minds and exploring their methodologies and personalities. Surveying 120 renowned artists living and working in Britain today, from the most noteworthy to new, upcoming talent, Sanctuary offers a visual feast of specially commissioned photography while following each artist through their working routines. Tony Cragg, Anthony Gormley, Jenny Saville, Anish Kapoor, Mark Wallinger, Phyllida Barlow, Jane and Louise Wilson, Thomas Houseago, Tracey Emin, the Chapman Brothers the list goes on. In addition to highly individualized interviews with all of the artists featured in the book, the stage is set by three highly engaging essays exploring the meanings, configurations, and personalities of a huge range of studio settings and environments in the context of the contemporary British art scene."

Award-winning artist and illustrator Sara Fanelli is one of the world's foremost illustrators, renowned for her experimental techniques that have spawned many imitators. Her unique contribution to book illustration is evident in such memorable books as "Dear Diary" ('one of the most extraordinary picture books ever devised' - "The independent"; 'an eccentric masterpiece' - "The Guardian"), "Mythological Monsters" ('a model of artistic engagement' - "Kirkus Reviews") and "My Map Book" ('an exhilarating and liberating book for all' - "The Guardian"). More recently she illustrated "The New Faber Book of Children's Verse and Pinocchio" (for the cover of which she was awarded first prize in the V&A Illustration Awards). Fanelli's inspiration lies not only in the visual arts but also in literature and the theatre. "Sometimes I Think, Sometimes I Am" is a remarkable creation by the artist, in which Fanelli takes the quotations and aphorisms that inspire her work, from Dante and Goethe to Calvino and Beckett, and places them in the context of a completely original artistic creation - sketchbooks, collages, paintings and drawings - at the heart of which lies a beautiful miniature book-within-a-book. The book opens with a newly commissioned text from Steven Heller, while Marina Warner introduces each of the five 'chapters' - 'Devils and Angels', 'Love', 'Colour', 'Myth' and 'The Absurd' - that make up this unique work. This is a book that will be enjoyed by anyone alert to the possibilities of what a book can be. It will be treasured, collected and marvelled at for years to come.

For nearly forty years, John Van Alstine has created abstract sculptures forged from steel and stone. In John Van Alstine: Sculpture, 1971-2018, three notable essayists explore the sculptor's abstract landscapes that reveal the complex synergy between natural forces and man-made elements; by grappling with the challenges of balancing stone and steel, Van Alstine's indoor, outdoor, and site-specific sculptures are measured and calculated, yet simultaneously poetic; their swooping angular lines create expansive spaces beyond the limits of their steel and stone frames to unveil our collective history and imagination, illuminating a deft interplay of natural energies and the human experience. The artist weaves into his works elements of mythology, celestial navigation, implements, human figures, movement, urban forms, and found objects, while using motion, balance, and inertia to incorporate the eternal forces of gravity, tension, and erosion. In an essay on his drawings, Van Alstine details the critical role they play in the initiation and planning of his projects, offering the reader a firsthand perspective on the artist's creative process. Van Alstine's works have been featured in numerous solo and group exhibitions and are found in the permanent collections of the Carnegie Museum of Art, the Hirshhorn Museum and Sculpture Garden, the Smithsonian's National Museum of American Art, and the Phillips Collection, to name but a few. His works are also found in numerous public and private collections. The Artist Book Foundation is gratified to announce the publication of this lavishly illustrated monograph on an esteemed and prolific contemporary artist.

...Expecting the Lightning uses science, art, astronomy, and anthropology to discuss what it means to be part of the universe. It is an invitation, through art, to be part of a discussion between those who acknowledge the extension of human ignorance and the desire for answers. This book, full of images, tells the history of humankind versus the universe, travelling through time by means of a multitude of artistic artefacts which interact and offer a sensorial experience. Text in English and Spanish.

Rhythm and Geometry: Constructivist art in Britain since 1951 celebrates the dynamic abstract and constructed art made and exhibited in Britain over a seventy-year period. Including constructed reliefs and sculpture, kinetic and participatory art, painting and printmaking, the publication explains the dialogue and collaboration between artists working in radical ways across the generations to continually reinvent Constructivist art. Rhythm and Geometry is drawn from the collection at the Sainsbury Centre, University of East Anglia. Featured artists include Robert Adams, Rana Begum, Charles Biederman, Lygia Clark, Natalie Dower, Stephen Gilbert, Adrian Heath, Anthony Hill, Kenneth Martin, Mary Martin, Victor Pasmore, Jean Spencer, Takis, Victor Vasarely, Mary Webb, Stephen Willats, Gillian Wise and Li Yuan-Chia.

The sculptural installations of British artist Richard Hughes (born 1974) appear to be composed of banal everyday objects--old mattresses, tennis shoes, planters--but in fact these objects are carefully fabricated in fiberglass, resin and silicon, setting in motion a bizarre play between grungy reality and crafted artifice. This volume considers his work to date.

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.

Gallery 1988's annual Crazy 4 Cult art show has quickly become a phenomenon, with huge crowds and high profile buyers like Kevin Smith and Joss Whedon snapping up work by the cream of the underground/urban scene. Following 2011's critically acclaimed first volume, here's the eagerly awaited second selection of surprising, beautiful and just plain cool cult movie-inspired artwork.

In Dragging Away Lex Morgan Lancaster traces the formal and material innovations of contemporary queer and feminist artists, showing how they use abstraction as a queering tactic for social and political ends. Through a process Lancaster theorizes as a drag-dragging past aesthetics into the present and reworking them while pulling their work away from direct representation-these artists reimagine midcentury forms of abstraction and expose the violence of the tendency to reduce abstract form to a bodily sign or biographical symbolism. Lancaster outlines how the geometric enamel objects, grid paintings, vibrant color, and expansive installations of artists ranging from Ulrike Muller, Nancy Brooks Brody, and Lorna Simpson to Linda Besemer, Sheila Pepe, and Shinique Smith offer direct challenges to representational and categorical legibility. In so doing, Lancaster demonstrates that abstraction is not apolitical, neutral, or universal; it is a form of social praxis that actively contributes to queer, feminist, critical race, trans, and crip politics.

Is art created with computers really art? This book answers 'yes.' Computers can generate visual art with unique aesthetic effects based on innovations in computer technology and a Postmodern naturalization of technology wherein technology becomes something we live in as well as use. The present study establishes these claims by looking at digital art's historical emergence from the 1960s to the start of the present century. Paul Crowther, using a philosophical approach to art history, considers the first steps towards digital graphics, their development in terms of three-dimensional abstraction and figuration, and then the complexities of their interactive formats.

This collection of quotes demonstrates the elegant simplicity of Ai Weiwei's thoughts on key aspects of his art, politics, and life. A master at communicating powerful ideas in astonishingly few words, Ai Weiwei is known for his innovative use of social media to disseminate his views. The short quotations presented here have been carefully selected from articles, tweets, and interviews given by this acclaimed Chinese artist and activist. The book is organized into six categories: freedom of expression; art and activism; government, power, and moral choices; the digital world; history, the historical moment, and the future; and personal reflections.

Together, these quotes span some of the most revealing moments of Ai Weiwei's eventful career--from his risky investigation into student deaths in the 2008 Sichuan earthquake to his arbitrary arrest in 2011--providing a window into the mind of one of the world's most electrifying and courageous contemporary artists.

Select Quotes from the Book:

On Freedom of Expression"Say what you need to say plainly, and then take responsibility for it.""A small act is worth a million thoughts.""Liberty is about our rights to question everything."

On Art and Activism"Everything is art. Everything is politics.""The art always wins. Anything can happen to me, but the art will stay.""Life is art. Art is life. I never separate it. I don't feel that much anger. I equally have a lot of joy."

On Government, Power, and Making Moral Choices "Once you've tasted freedom, it stays in your heart and no one can take it. Then, you can be more powerful than a whole country.""I feel powerless all the time, but I regain my energy by making a very small difference that won't cost me much.""Tips on surviving the regime: Respect yourself and speak for others. Do one small thing every day to prove the existence of justice."

On the Digital World "Only with the Internet can a peasant I have never met hear my voice and I can learn what's on his mind. A fairy tale has come true.""The Internet is uncontrollable. And if the Internet is uncontrollable, freedom will win. It's as simple as that.""The Internet is the best thing that could have happened to China."

On History, the Historical Moment, and the Future "If a nation cannot face its past, it has no future.""We need to get out of the old language.""The world is a sphere, there is no East or West."

Personal Reflections "I've never planned any part of my career-- except being an artist. And I was pushed into that corner because I thought being an artist was the only way to have a little freedom.""Anyone fighting for freedom does not want to totally lose their freedom.""Expressing oneself is like a drug. I'm so addicted to it."

When Bas Jan Ader's boat, Ocean Wave, was found unmanned and partially submerged 150 miles off the coast of Ireland by a Spanish fishing vessel in 1976, it was taken to La Coruna for investigation. Days later, the boat was stolen and the cult of Ader, whose body was never recovered, and who was thought by many to have staged this incident, was truly cemented. In this volume, Marion van Wijk and Koos Dalstra, who spent 10 years investigating this unsolved mystery, reproduce the entire police report in facsimile. They also include many pages of eerie written documentation and transcriptions of interviews they conducted during their decade of intensive sleuthing. The report has 74 pages: it begins on April 27, 1976 and ends on February 1, 1977. It relates the history of the Ocean Wave from the discovery of the vessel to the closure of the case. This book is a reprint of the earlier edition from Veenman Publishers with additional research included.

The beautiful companion volume to Lee Ufan's largest site-specific outdoor sculpture project in the U.S. In fall 2019, the Hirshhorn Museum and Sculpture Garden debuted 10 new specially commissioned outdoor sculptures from celebrated Korean artist Lee Ufan. This book accompanies the expansive installation, which features sculptures from the artist's signature and continuing "Relatum" series and marks the first exhibition of Lee's work in the nation's capital. For the first time in the Hirshhorn Museum's 44-year history, its 4.3-acre outdoor plaza will be devoted entirely to the work of a single artist, and this book is a beautiful commemoration or keepsake of that event. Lee is a founder of the late 1960s artistic movement Mono-ha, or "School of Things," so his artwork represents an encounter between the viewer, the materials, and the site. The sculptures in this installation and book reflect this: all of the sculptures respond to the museum's unique architecture and continue Lee's iconic practice of placing contrasting materials, such as stainless steel plates and boulders, in dialogue with one another to heighten awareness of the world. The book features more than 100 color illustrations, including preliminary sketches, photographs of the artist selecting materials for the work, images of the installation process, shots of installed sculptures, details of installed sculptures, and more. Accompanying these powerful images are a foreword, essays, artist interview, and short captions that highlight how the works are rooted in contemplation and sensation rather than static representation. Lee Ufan: Open Dimension offers readers an intimate look at the work, artistic process, and impact of one of the pioneering figures of postwar art.

Described by Art Review as 'one of the most influential people in the contemporary art world in 2018', Theaster Gates (b. 1973, Chicago) explores the complex and interweaving issues of race, territory and inequality as a socially engaged artist. Living and working in Chicago, Gates began his career studying urban planning, followed by ceramics, both of which continue to inform his work. At the heart of the book, Gates looks at the history of Malaga island in Maine, USA. In 1912, the state governor evicted the island's ethnically diverse population with no offer of housing or support. Gates's body of work - sculpture, installation, film, music and dance - responds to this little-known story, connecting it with the wider history of African-American people. A new film called 'Dance of Malaga 2019' features the choreography of acclaimed American dancer Kyle Abraham, and a highlight of the publication are the many beautiful stills from the film. Through a combination of essays, Theaster Gates's own words and a careful selection of illustrations, this publication will underline the artist's influence in contemporary art and interracial relationships, while its accessible approach will appeal to all.