Belfast-born British artist Cathy Wilkes will be representing Great Britain at the 58th International Art Exhibition at the Venice Biennale in 2019. Wilkes will present a major new solo exhibition at the British Pavilion between 11 May and 24 November. Renowned for her distinctive and highly personal sculptural installations featuring humanoid figures that highlight the tender intimacy of everyday life, Wilkes' exhibition will feature new paintings and sculptures that will provoke a strong emotional response in viewers, set against the backdrop of the grand architecture of the British Pavilion. Narratives and histories which often evoke interiors and places of loss or solitude are suggested through her evocative objects but never explicitly expressed, and indeed Wilkes resists written descriptions and explanations of her work, intentionally not naming her installations, assemblages and exhibitions in a bid to keep open the viewer's perceptions. This publication, one of the only books

The first monograph on this important but overlooked artist. Coincides with a major show of new work at Alan Cristea Gallery, London, 27 June to 31 July, 2019. Mick Moon RA was born in Edinburgh in 1937 and grew up in Blackpool. He studied at the Chelsea School of Art (1958-62) and later taught at the Slade School of Fine Art (1973-90). He was elected a Royal Academician in 1994 and his work now forms part of many public collections including those of the Scottish National Gallery, Tate and the Victoria and Albert Museum. Moon's paintings and prints combine a wide variety of media and techniques in complex and intriguing layers. More recently, photographic elements have formed part of his practice, along with textural materials such as wood and cloth which Moon combines with ink and paint. The art historian Mel Gooding provides an authoritative insight into Mick Moon's practice and a definitive overview of his career. He argues that Moon is one of the most important artists of his generation and asserts his place as one of the key figures of post-war British art.

Jackson Pollock, Roy Lichtenstein, Robert Rauschenberg and Jasper Johns each made a tremendous impact on modern art in the 20th century. As pioneers of revolutionary movements such as Abstract Expressionism and Pop art, they are key figures in the postwar transitions that brought American art to the forefront of the international scene. These latest volumes in the "MoMA Artist Series", which explores important artists and favorite works in the collection of The Museum of Modern Art, guide readers through a dozen of each artists most memorable achievements. A short and lively essay by Carolyn Lanchner, a former curator of painting and sculpture at the Museum, accompanies each work, illuminating its significance and placing it in its historical moment in the development of modern art and the artists own life. These books provide a unique overview of the individuals who shaped the development of American art since mid-century and are excellent resources for readers interested in the stories behind the masterpieces of the modern canon.

A unique insight into the ways in which one of today's leading artists is inspired by great works of the past. In 16 emphatically modern new paintings, renowned artist, Alison Watt, responds to the remarkable delicacy of the female portraits by eighteenth-century Scottish portraitist, Allan Ramsay. Watt's new works are particularly inspired by Ramsay's much-loved portrait of his wife, along with less familiar portraits and drawings. Watt shines a light on enigmatic details in Ramsay's work and has created paintings which hover between the genres of still life and portraiture. In conversation with curator Julie Lawson, Watt discusses how painters look at paintings, explains why Ramsay inspired her, and provides unique insight into her own creative process. Andrew O'Hagan responds to Watt's paintings with a new work of short fiction and art historian Tom Normand's commentary explores further layers of depth to our understanding of both artists.

Soon after the book's publication in 1982, artist David Hockney read Lawrence Weschler's "Seeing Is Forgetting the Name of the Thing One Sees: A Life of Contemporary Artist Robert Irwin "and invited Weschler to his studio to discuss it, initiating a series of engrossing dialogues, gathered here for the first time. Weschler chronicles Hockney's protean production and speculations, including his scenic designs for opera, his homemade xerographic prints, his exploration of physics in relation to Chinese landscape painting, his investigations into optical devices, his taking up of watercolor--and then his spectacular return to oil painting, around 2005, with a series of landscapes of the East Yorkshire countryside of his youth. These conversations provide an astonishing record of what has been Hockney's grand endeavor, nothing less than an exploration of "the structure of seeing" itself.

Since 1945, the globalization of education and the professionalization of architects and engineers, as well as the conceptualization and production of space, can be seen as a product of battles of legitimacy that were played out in the context of the Cold War and what came after. In this book James Steele provides an informative and compelling analysis of one of Egypt's foremost contemporary architects, Abdelhalim Ibrahim Abdelhalim, and his work during a period of Egypt's attempts at constructing an identity and cultural legitimacy within the post-Second World War world order. Born in 1941 in the small town of Sornaga just south of Cairo, Abdelhalim received his architectural training in Egypt and the United States, and is the designer of over one hundred cultural, institutional, and rehabilitation projects, including the Cultural Park for Children in Cairo, the American University in Cairo campus in New Cairo, the Egyptian Embassy in Amman, and the Uthman Ibn Affan Mosque in Qatar. The first comprehensive study of the work and career of Abdelhalim and his office, the Community Design Collaborative (CDC), which he established in Cairo in 1978, Abdelhalim Ibrahim Abdelhalim: An Architecture of Collective Memory is inspired by Abdelhalim's deep belief in the power of rituals as a guiding force behind various human behaviors and the spaces in which they are enacted and designed to play out. Each chapter is consequently dedicated to one of these rituals and the ways in which some of Abdelhalim's primary commissions have, at all levels of scale, revealed and expressed that ritual. In the sequence presented these are: the rituals of possession, reverence, order, the transmission of knowledge, procession, human institutions, geometry, light, the sense of place, materiality, and finally, the ritual of color.

Newly revised and updated, this authoritative book presents the exciting, ironic, and often subversive work of Yinka Shonibare MBE, one of the stars of the international art scene. Born in London and raised in Nigeria, Shonibare employs a diverse range of media--from sculpture, painting, and installation to photography and film--to probe matters of race, class, cultural identity, and history. He is perhaps best known for his signature use of a colorful "African" batik fabric that actually originated in Indonesia and was introduced to Africa in the19th century by British and Dutch colonizers. Incorporated into Victorian costumes, covering sculptures of extraterrestrials, or stretched like canvas for paintings, these vibrant textiles cleverly challenge issues of origin and authenticity. This book--the most comprehensive resource available on Shonibare--presents the best work of the London-based artist's career, including his high-profile project for the Fourth Plinth in London's Trafalgar Square and other innovative public sculptures. Whether lampooning Victorian propriety or commenting on what it means to be an "alien," Shonibare makes art that challenges straightforward interpretations.

A fantastic, single-sided adult coloring book from the bestselling artist behind Fantomorphia, Mythomorphia, Imagimorphia and Animorphia. The perfect stocking stuffer gift for anyone who loves a coloring book challenge! A coloring book like you've never seen before-perfect for colored pencils, crayons, or markers! An amazing adult coloring book challenge, featuring the strange and superdetailed images of artist Kerby Rosanes. Kerby works in intricately detailed black-and-white lines to create creatures, characters, patterns, and tiny elements to form massive compositions of mind-boggling complexity. His second single-sided book invites readers to complete the drawings and find hidden treasures and creatures scattered throughout its pages. Find your zen as you bring this beautiful art to life! Geomorphia is packed full of intricate images of stunning creatures and landscapes morphing and shapeshifting into Kerby's signature, breathtaking scenes. The world that he imagines will excite and transport drawers, as he brings this beautiful fantasyscape and its creatures to life. Geomorphia is an amazing adult coloring book challenge featuring his trademark strange and super-detailed images, and perfect for coloring then posting on the wall or framing.

An indispensable guide for art-world neophytes and seasoned professionals alike, the best-selling ArtSpeak returns in a revised and expanded third edition, illustrated in full colour. Nearly 150 alphabetical entries - 30 of them new to this edition - explain the who, what, where, and when of postwar and contemporary art. These concise mini-essays on the key terms of the art world are written with wit and common sense by veteran critic Robert Atkins. More than 80 images, most in colour, illustrate key works of the art movements discussed, making ArtSpeak a visual reference, as well as a textual one. A timeline traces world and art-world events from 1945 to the present day, and a single-page ArtChart provides a handy overview of the major art movements in that period.

Berlin was shaped by the events of the twentieth century in a process of "automatic urbanism." More than any other metropolis, the city absorbed the forces of that epoch - modernity, fascism, two world wars, Stalinism, socialism, the Cold War, revolt, capitalism - and gave them form. This book shows how even today, opposed ideological, political, economic, and military forces continue to produce unplanned structures and activities and urban phenomena beyond the categories of urban design and architecture that conceal rich potential. Berlin reveals particularly clearly phenomena that have shaped urban development in the twentieth century in other places as well: conglomeration, collision of borders, destruction, void, mass, metabolism, and simulation. The present book, which caused a sensation when first published in German twenty years ago, is now being published in English for the first time. Its surprising and informative analysis of Berlin as a prototype of the modern city destroys the ideologies of heroic modernity as well as the new nationalisms and shows how the modern city "as found" can become the point of departure for new forms of context-specific architecture and urban planning. Taking Berlin as a prototype, Philipp Oswalt's lucid analysis describes how much the built environment of cities is influenced by the unintended side-effects of political, economic, and technological processes. This "automatic urbanism" reveals modernist master-planning and national building traditions as being a myth. Instead, the book offers a both socially and ecologically more sensitive, more responsible approach to develop cities "as found." Saskia Sassen, Columbia University New York This English edition of Philipp Oswalt's now-classic study could not be more timely. Every effort to understand the modern city must contend with Berlin, the twentieth century's anti-capital. Its lessons, presented here with singular insight and authority, remain necessary to anyone thinking about what that word - "city" - might still mean today. Reinhold Martin, Columbia University New York Berlin has never only been a theatre in the battle between ideas and ideologies. Rather, it has always been the material means by which these ideas clash against each other. If the struggle for our futures must take place in Berlin, as our historical moment seems to demand, there is no better guide than Philipp Oswalt's now classic Berlin: City Without Form. His scholarly ingenuity and perceptive architect's eye are only matched by a commitment to the future of his city. Eyal Weizman, Goldsmiths/University of London

Anatomy Of Sorrow is the latest monograph by prolific and influential artist Daniel Martin Diaz, which explores a new depth of symbolism, mysticism and surreal iconography depicted in paintings, drawings, and prints. Drawing from old masters Jan van Eyck, Pieter Bruegel, and Hieronymus Bosch, both in subject matter and in the ancient egg tempera and resin oil painting technique, the works of self-taught artist and classically trained composer Daniel Martin D az possess a sincerity that foregrounds his deep devotion to revealing a higher meaning through painstaking craftsmanship. Through his application of a limited palette on distressed wood, his handmade wooden frames, and his expressive use of Latin text, D az's images thrust us into another time and place.

Artist Robert Gratiot refers to his work as ""painterly photo-realism,"" and he readily reveals his complete commitment to this reference by rendering his subjects with photographic accuracy. His mastery of painterly methods and of various drawing techniques highlights his astounding eye-to-hand coordination. Gratiot precisely conveys a particular scene through meticulously produced details, each down to the smallest and expertly handled. But it is more than that-he regards each small section of a painting as an abstraction, and then assembles these tiny abstractions to build the realistic whole. His paintings are obviously the product of the considerable efforts of a very gifted and extremely meticulous painter. ""The genuine revelation is how deeply personal and individual these pieces are for Robert Gratiot. This is a surprise, particularly considering the impersonal nature of his subjects. However, each is deeply felt and carries hidden moods and veiled stories, which until he shared them, were known only to Gratiot.""-Michael Paglia

The Iconic House features over 100 of the most important and influential houses designed and built since 1900. International in scope and wide-ranging in style, the houses share a remarkable sensitivity to site and context, appreciation of local materials and building traditions, and careful understanding of clients' needs. Each, however, has a unique approach that makes it groundbreaking and radical for its time. Concise, informative texts and fresh, vibrant illustrations, including specially commissioned photographs, floor plans and drawings, offer detailed documentation, while a bibliography, gazetteer and list of houses by type provide further information. Whether Arts and Crafts or Art Nouveau, Modernist or Minimalist, High-Tech or new vernacular, these unforgettable buildings from around the world will inspire and delight students and professionals, design aficionados and anyone who dreams of building a house of their own.

The first extended study of Frank Auerbach's remarkable portrait drawings reveals their complexity and ambition as works of graphic art This book offers an original approach to one of Britain's leading artists: Frank Auerbach (b. 1931). It looks in detail at his portrait drawings, which Auerbach has been making since the 1950s, and which he has always considered important, freestanding works of art. By turns eerie, shocking, enigmatic, and hauntingly tender, they demand fresh interpretation and investigation. Reproducing more than 130 examples of these portraits, some for the first time, and featuring new essays by curators, scholars, and critics, this book provides an unprecedented opportunity to explore and reassess these striking and sometimes unsettling works of graphic art. Frank Auerbach: Drawings of People includes texts by both the editors and the artist himself, and new essays by Kate Aspinall, James Finch, Alex Massouras, David Mellor, and Barnaby Wright. Distributed for the Paul Mellon Centre for Studies in British Art

Homelessness is a growing global problem that requires local discussions and solutions. In the face of the coronavirus pandemic, it has noticeably become a collective concern. However, in recent years, the official political discourse in many countries around the world implies that poverty is a personal fault, and that if people experience homelessness, it is because they have not tried hard enough to secure shelter and livelihood.   Although architecture alone cannot solve the problem of homelessness, the question arises: What and which roles can it play? Or, to be more precise, how can architecture collaborate with other disciplines in developing ways to permanently house those who do not have a home? Who’s Next? Homelessness, Architecture, and Cities seeks to explore and understand a reality that involves the expertise of national, regional, and city agencies, non-governmental organizations, health-care fields, and academic disciplines.  Through scholarly essays, interviews, analyses of architectural case studies, and research on the historical and current situation in Los Angeles, Moscow, Mumbai, New York, São Paulo, San Francisco, Shanghai, and Tokyo, this book unfolds different entry points toward understanding homelessness and some of the many related problems.  The book is a polyphonic attempt to break down this topic into as many parts as needed, so that the specificities and complexities of one of the most urgent crises of our time rise to the fore.

How might we develop products made with and by disabled users rather than for them? Could we change living and working spaces to make them accessible rather than designing products that "fix" disabilities? How can we grow our capabilities to make designs more “bespoke� to each individual? After Universal Design brings together scholars, practitioners, and disabled users and makers to consider these questions and to argue for the necessity of a new user-centered design. As many YouTube videos demonstrate, disabled designers are not only fulfilling the grand promises of DIY design but are also questioning what constitutes meaningful design itself. By forcing a rethink of the top-down professionalized practice of Universal Design, which has dominated thinking and practice around design for disability for decades, this book models what inclusive design and social justice can look like as activism, academic research, and everyday life practices today. With chapters, case studies, and interviews exploring questions of design and personal agency, hardware and spaces, the experiences of prosthetics' users, conventional hearing aid devices designed to suit personal style, and ways of facilitating pain self-reporting, these essays expand our understanding of what counts as design by offering alternative narratives about creativity and making. Using critical perspectives on disability, race, and gender, this book allow us to understand how design often works in the real world and challenges us to rethink ideas of "inclusion" in design.

Award-winning and hugely popular artist Rosie Sanders showcases the beauty of the rose in her follow up to Rosie Sanders Flowers. Over 80 stunning paintings and sketches are shown for the first time. The artist writes a personal letter on each of her rose paintings (to be given unopened to the final recipient or buyer of the painting). Many of these personal letters sit alongside the paintings, as they explain the creative and emotional process she went through to create it. The book is a revealing insight into the artist's muse and the author's sketches and drawings are also included to show the full artistic process. The book is introduced by an extended essay on the resonance of the rose - all across the world - in our art, literature, poetry, folklore and gardens. The rose emblem is timeless and this book not only celebrates its beauty in art but tells the story of the rose as one of nature's most powerful motifs.

In four decades of abstract art practice, Lynda Benglis has not merely challenged the status quo. She has tied it in knots, melted it down and poured it across the floor, cast it in glass, clay and bronze. Daring and sometimes outrageous, her intense and provocative practice has produced some of the most iconic pieces of art from the late twentieth century. Richmond gives serious critical attention to work often dismissed as trivial and rootless, recovering the themes that link the different phases of the artist's quest to capture the 'frozen gesture'. Whether challenging popular tastes and definitions of art with her 1970s abstract knotwork or mocking puritanical aesthetics of gender with her colourful latex pourings and their allusions to corporeal topographies, Benglis never failed to provoke. Her sculptures commemorate and celebrate the processes of creation themselves, combining architectonic abstraction and feminized sensuality in a haunting, visceral theme of the strangeness of the body that runs through all her experiments in glass, video, metals, ceramics, gold leaf, paper and plastics. Lynda Benglis: Beyond Process examines in depth the work and critical neglect of an artist who, perhaps more than any of her contemporaries, changed the face of American art in the 1960s and 1970s, and continues to fetishise, provoke and demand your attention.